Joe Ryan, former Head of Art at Rugby School, is an internationally acclaimed artist whose work combines autobiographical themes with explorations of geometry, art history, and language. Born in Kent, Ryan studied in London before moving to New York in 2004 to complete a Masters at the prestigious New York Studio School. After serving as an Assistant Professor at West Connecticut State University, he returned to the UK, holding a residency at The Oratory School before joining Rugby School.

Known for his nuanced still lifes, portraits, and architectural studies, Ryan’s recent paintings of Rugby School’s Chapel and Macready Theatre capture the rich history and atmosphere of these iconic spaces, while reflecting his personal artistic journey. His work has been exhibited internationally, including with Galerie Mourlot in New York and the New English Art Club in London.

Your work often explores autobiographical themes and references to the history of art. Where do these influences come from, and how do you blend personal narrative with broader artistic traditions in your work?

I paint scenes from my life and portraits of the people that I know and love, but I suppose that it might be a certain play of light, or the colour that a person is wearing that will remind me of a painting that I love, or perhaps even a visual challenge that would be interesting to solve. There are always interesting contradictions to play with, like ‘how can I sneak vibrant colour into this predominantly black and white scene, or how can I keep my brushwork lively and vital in a quiet, slow-moving painting. These are abstract issues that have existed in figurative paintings for millennia. As for my subjects, it is easy to create a votive for something that you enjoy looking at.

In your paintings of iconic Rugby School buildings such as the Chapel and Macready Theatre, what is your process for capturing the essence of these spaces? Were there particular challenges in translating their atmosphere and historical significance onto canvas?

I like the words ‘essence’ and ‘atmosphere’ there. Rugby School sits on the top of the hill and has the most wonderfully crisp light that sweeps across it. So when you are walking to Chapel in the cold, early morning it is difficult not to appreciate those that have shared that very experience for the previous 450 years. I certainly will continue to paint from the School grounds, it is a lovely place to live and I appreciate being one small part of something bigger.

Your portraits are often praised for their emotional depth and complexity. How do you approach portraiture differently from your still-life or architectural work, and could you share the story behind one of your recent portrait projects?

One of the hardest challenges for a portrait painter is to look at someone that you love with dispassionate objectivity. To reduce them in your mind’s eye to simply patches of light and dark. But you risk it all if you don’t play this game; it could easily become illustrative or sentimental. Then you end up with nothing more than a greetings card. On the other hand, we do have a human connection with the people we paint, naturally, and we have to be conscious of that too. I was recently commissioned to paint Barry O’Brien who recently retired as Chair of the Board of Governors. Of course I wanted to spend time on the painting to ‘get it right’, but I knew that if I laboured over it for too long I could risk losing the brightness, life and humour that I saw when I met him. So that was an interesting project, I wanted the painting to sit comfortably in the great history of the school, but without it feeling staid.

How do you encourage creativity and experimentation among students, especially those who may not see themselves as ‘artists’ in a traditional sense?

Oh that is the fun part, we have such an incredible range of media available in the department, and each one lends itself to experimentation and diversity. I know that I am obsessed with painting, but that translates very differently to a student who then tries screen printing, etching, Photography, textiles, and so on. Using the facilities like a foundation course sets one up better for a career in the arts, gives a broad portfolio too.  It is important to try things that you haven’t tried before, even just to see how they come out because there are always surprising ‘accidents’, but I do believe in the need to remain grounded with a solid understanding of the history of Art.

For students looking to pursue art beyond Rugby School, what advice would you give them on building a creative career?

Contrary to common belief the ‘Arts’ make up a huge part of the global economy. Being an ‘Artist’ is just one small part of that, so I suppose, if a student loves Art they should be prepared to embark upon a vast journey that could take them anywhere. I would advise them to take every opportunity presented them, work harder than their peers (be competitive), and soak up information like a sponge. Be prepared to never stop learning. Allowing their creative sides to flourish does not mean that they are either going to be a painter or not; it could mean working in film or television, fashion, advertising, graphics design, interior design… you name it! Having a love of thinking creatively will get them far.

Reflecting on your time at Rugby School so far, is there a particular moment or memory that stands out to you as especially rewarding or significant?

The best part about working at Rugby School is working with the students, and sad as it is to say goodbye to some of them that I have come to know so well, there is that constant carousel that brings great new characters into the studio every year. I can’t help feeling so proud when I hear from an alumni, or even just to hear how well they are doing on their own, out in the world, and most certainly if they are still painting.

How do you balance your personal artistic practice with your responsibilities as a teacher? Do you find that teaching informs or inspires your own work?

For a large part it is that we keep the studios open into the evenings. There is a much more casual and exploratory atmosphere to creating work outside of a structured lesson. Students are encouraged to make use of the studios and to come in and work on their own projects, and if it is not too busy then I may have the time to tinker with a canvas of my own or two. I usually have about three or four paintings ‘on the go’ at any one time. Since they are ‘staring’ at me throughout the day I often know exactly what I need to adjust when the evening comes. The students not only inspire my work but often challenge and critique me too. They can be tough critics! It’s good, it keeps me on my toes.

Are there any exhibitions or showcases—either your own or your students'—coming up that we should look out for?

I have three paintings in the Rugby Open Exhibition which is currently on at the Rugby Art Gallery and Museum. There are also five Rugby School Students who are also in that show. It runs until February 20th. I also exhibit with the Contemporary British Portrait Painters and we have a show coming up in London in the Summer. You can Find information about that at CBPP - Contemporary British Portrait Painters or you can find them on Instagram. And me too for that matter! 

Joe Ryan's Instagram 
Joe Ryan's latest painting of the Chapel has been used as the Front Cover for Richard Horner's book of talks, 'Please Sit Down: Talks from Rugby School Chapel.'

Paintings included in the carousel shown: 

Chapel, Oil on linen, 100 x 120cm, 2021

M, Oil on board, 30 x 25cm, 2024

The Close at Rugby, Oil on linen, x 40 x 55cm, 2017

The Birching Tower, Oil on linen, 43 x 30cm 2020

Barry, Oil on linen, 62 x 52.5, 2024