“I don't know why I have this all encompassing desire to paint wildlife....to be a wildlife artist.... perhaps I will never know, but when I am painting, then nothing else exists.
I am right back at the scene where I first saw my subject.
Back with the lions of the dry savannah of Savuti and the elephants in the lush vegetation of the Okavango Delta”.
It's almost as if time stands still as I relive my memories through painting.
Born in Wales, UK, my love of animals has been there for as long as I can remember, along with my desire to draw / paint and teach others, so looking back it now seems inevitable that I would become a Professional wildlife artist.
Although it took me many years of trial and error to reach the level I strived to attain.
I aim to paint wildlife as accurately as I can, so where possible I like to see the animals in their natural environment, and this has lead to some very exciting journeys and experiences as you can imagine.
It's these exhilarating and very personal experiences that I believe help me so much in my portrayal of wildlife in it's natural environment.
It's the hidden things that you can truly only experience by being there in person.
I, like many, wildlife artists, am involved with conservation. It seems so common these days that a wildlife artist is involved in conservation that it has almost become a cliché, and sometimes I hesitate to mention my own involvement.
But conservation does need to be brought to the public attention and the more that become involved the better for the wildlife.
To date my involvement has been with Four organizations - all excellent in their own right - The Cheetah Conservation Fund (CCF - Namibia) the AWF (African Wildlife Foundation) the DFGF (Dian Fossey Gorilla Fund) and the Snow Leopard Conservancy - I can certainly vouch for them all
Professional wildlife artist - Jason Morgan
Viewing animals in their environment
Sharing my knowledge with others
I vividly remember struggling to paint wildlife when I started 15 - 20 years ago. Instruction was almost non-existent, and what did exist sorely lacked in detail and techniques, almost as if the artists were keeping their secrets back.
So over the years I photographed almost everything I learnt and this became a massively informative resource, not just for myself, but also for others.