Jasmine Gardner

Commissions.

Ranging from personalised paintings to paper cutting installation, I am open for private or publicly funded commissions and collaborations to all interested in my work.
Please contact me with any enquires.

See Exhibition Work Here

Old Ship for Jack

May 2026 | Acrylic paint on wooden panel | 21 x 14.5 cm

Ransom Note x More Rice Record T-shirt Design:

After speaking with the Ransom Note team and hearing about their exciting tour of South East Asia with More Rice Records, I was inspired by my travels to Thailand earlier this year.
In this hand drawn design, I reference the Thai Naga, a mythological serpent-like creature accompanied by ubiquitous Thai boxer imagery.
September 2025.

Echoes: China & Hong Kong. Voicing the collection.

January - May 2025 | Two Site Specific Papercutting Installations at The Portico Library.

“I think you’re wrong… England isn’t racist, I never hear any racism” - a white man from Essex called Andrew, 2020. | Hand-cut papercutting, 5m x 1.5cm and 3m x 1.5m, 200gsm Paper, wood, rope.
A “sudden influx of swarms of hideous chattering Chinese coolies” Major Henry Knollys, 1885. | 100 Individually hand-cut papercuttings, 135gsm coloured paper.

For this exhibition, I have chosen to explore the pairing between the negative impacts language can have within society and the delicate nature of the ancient art of papercutting. Welcome aboard and join the Portico Library on a voyage of reclaiming narratives, voicing the collections and highlighting the impact of ignorance and preconceptions have on society from the 19th century to the present day.
Artist statements about both works below.

Photos by Lewis Chetcuti.

“I think you’re wrong… England isn’t racist, I never hear any racism” - a white man from Essex called Andrew, 2020.

By referencing the Portico’s Collection in relation to voyages to the east, this hand cut sail evokes the feeling of multiple incisions made by small, sharp and ignorant comments like the work’s title. Over time, ignorant preconceptions of other cultures outside the Eurocentric gaze have embedded themselves deeply into western society and continue to flow from one side of the world to another.

Despite being born in China, I cannot speak, read or write Chinese. Therefore, I focuses on the flow of language and the large body of water between the east and the west through abstracted calligraphy brush strokes.

A “sudden influx of swarms of hideous chattering Chinese coolies” Major Henry Knollys, 1885.

Having worked and exhibited in London and in Manchester I found that with these great opportunities came with a great number of microaggressions and therefore, the idea of being tokenised and othered continues to perpetuate an uncomfortable scratching away at the artist’s identity. In keeping with the theme of voicing the collection, I am interested in exploring a visual representation of microaggressions and comments laced with xenophobia. The work and its title draws inspiration from a quote found in the second chapter of English Life in China (1885). I envisioned comments like these to be little creatures with human-familiarity crawling around the library, infecting the space and spreading thoughts of tokenism and discrimination. The goal of this work is to evoke a feeling of discomfort and mild disgust onto the audience, the feelings I, and many with a similar background, have when facing micro-aggressions on a regular basis.

Pesaro and Bologna

December 2024 | Papercutting | Dimensions (h) 70cm X (w) 30cm | Hand cut 135gsm coloured paper.

No.26, Beitou District

October 2024 | Papercutting | Dimensions (h) 68cm X (w) 29cm | Hand cut 135gsm coloured paper.

your words flow like water

June - September 2024 | Site Specific Installation | Dimensions: (h) 278cm X (w) 300cm | Material: Hand cut 135gsm coloured paper and pins.

your words flow like water emphasises the quest for a fluid sense of cultural identity. Inspired by the physical flow of water, the work pairs traditional Chinese art with a metaphorical interpretation of micro-aggressive incisions made by small, sharp comments and the subtle shadows they cast on an underlying surface. These small cuts to the artist’s identity have shaped and affected her perception of her personal and artistic position while living in Britain for the last 26 years. As colonial mindsets and systemic racism continue to cast shadows on her ongoing search for cultural identity, the resulting state is simultaneously beautiful and fragile. your words flow like water invites viewers not only to spectate but to join the gentle motions of the hanging paper, engaging in the delicate dance of identity exploration.

Photos from Lewis Chetcuti

Yangzhou, Suzhou and Wanzai.

March 2024 | Painting triptych | Dimensions (each): (h) 80cm X (w) 30cm | Acrylic and Ink on Canvas.

These three paintings, left to right, depict buildings and landmarks from family friend, Jessica's hometown in Yangzhou, my hometown in Suzhou and my sister's hometown, Wanzai. As Jessica and I were adopted on the same and families remain close and in touch, this work holds a special place in my heart. Knowing that the three of us each have a painting of our own hometowns in different parts of the UK maintains a very unique tie to eachother.

Ste Wing's Art Project

November 2023 | Hand Painted mural, | Dimensions: 8ft (h) X 12ft (w) | Material: Masonry Paint on wooden board.

Following Ste Wing's brief of community, for his Manchester Chinatown Art Project, I turned to my previous work, Woyou: Wandering Whilst Lying Down to depict a community of East/South East Asian women who, to a degree, share the lived experience of injustices within gender binaries.
This work will be up for the foreseeable future and part of a docu series, filmed by Hyde Productions, to be released later this year.

Photos from Lewis Chetcuti

MilkTea Films

February 2023 | Two Bespoke Paintings | Dimensions (each): 180cm (h) X 120cm (w) | Material: Acrylic and Paint Pen.

MilkTea's Special Screening of Broker, The Picturehouse Central, Piccadilly Circus, London.
MilkTeaFilms wanted a bespoke artwork that celebrated the film, Broker, and its prominent themes of family and the chosen family we make for ourselves on display at their special screening at PictureHouse Central. These 180 X 120cm acrylic and paint pens paintings represent my life Before and After family. Before (left) depicts buildings and surroundings from Su Zhou and Su Zhou's Social Welfare Home, where I stayed for the first seven months of my life. Though the painting uses blue tones which reflect somber feelings when thinking about my family-less young self, hope of a new life is symbolised by the growing blossom tree in the corner. After (right) depicts the house where I grew alongside my younger sister and our parents in Colchester in the UK. Oranges and reds are used to capture a warming and welcoming feeling when I come back to this house, even after 4 years of living in Manchester.

Park Chinois.

January 2023 | Hand lino printed and folded paper rabbit masks | oil-based ink, paper, and acrylic paint.

Park Chinois' Down the Rabbit Hole event, Mayfair, London.

This collaboration required enhancing the experience of the Lunar festivities for individuals attending the restaurant's Rabbit masquerade event. Each mask, made up of six parts (using a template by Paper Jutsu, was hand printed with a lino cat, folded and constructed. Additionally, each mask had unique hand-painted eye decoration with the aim to pay homage to Chinese Oprah masks whist staying true to the elegant and beautiful nature of the rabbit.

Photos provided by Park Chino