Casey Jackson
Casey Jackson is an artist living and working in Holt. He graduated with First Class Honours in Fine Art from Norwich University of the Arts and begins a master's at the Royal College of Art in September 2026. He is a recipient of the Radcliffe Trust Craft Award.
In 2025 he was awarded a year-long bursary and residency at Cromer Artspace, working with mentoring from Caroline Chouler-Tissier and Ben Edge and a week in the studio with Stephanie Douet. Writing about the residency he described work that "told stories of North Norfolk from the perspective of someone born and raised here", with the collections at Cromer Museum becoming an important research resource. The year concluded with the exhibition Opening Act at Cromer Artspace in 2026.
He was shortlisted for the Mannington Nature Award at the 2026 Holt Art Awards, and previously for the Sworders Emerging Artists Award at Holt in 2024. He was Highly Commended in the Visual Art Award at the Young Norwich Creative Awards in 2026 and in the Fine Art Award of the Norfolk Contemporary Art Society in 2025, and was shortlisted in the Norfolk Art and Design Competition in 2022 and the Young Norfolk Arts Awards in 2020.
Recent exhibitions include Tracing Mapping at The Shoe Factory, Norwich, Wighton 26 at All Saints' Church, Wighton, and The Off Beat Art Club in London, all in 2026; Free Range at The Truman Brewery, London, and California, Norfolk at Norwich University of the Arts in 2025; and Wighton 24 and the Sir John Hurt Art Prize shortlist exhibition at Holt Festival in 2024. His work has been covered by the Eastern Daily Press.
Artist Statement
I was born and raised in North Norfolk, and this landscape continues to shape the way I see and make work. The places, people and stories from this part of the world provide the starting point for my practice. North Norfolk is less a subject than a lens through which I look at wider ideas—a small-town point of view with a broader perspective.
My work sits somewhere between contemporary art and folk art. I make objects that are part found and part constructed, part fact and part fiction, part artefact and part tat. They often feel inherited rather than authored, as though they have outlived their original purpose and arrived carrying stories that have been forgotten, altered or invented along the way.
I’m interested in the kinds of things you might discover in an antique shop and immediately ask, What on earth is that, and why does it exist? I create objects with uncertain histories, imagined uses and narratives that exist somewhere between folklore, fiction and fact. Rather than offering answers, I want the work to leave space for speculation, curiosity and doubt.
Collecting is central to my practice. I see myself as a collector of culture, gathering fragments of local history, everyday objects, vernacular design and popular culture, then reassembling them into new forms. The work explores how stories are made, remembered and passed on, and how objects can preserve, distort or reinvent those stories over time.
Ultimately, I’m interested in making things that feel as though they’ve always existed—objects that tell a story and might continue telling it a little longer than their own time.