ARTPIL Profiles of the Arts
Sarah Jones / Anton Kern Gallery
Through Apr 7, 2018

Sarah Jones

In Jean Cocteau’s post war film Orphée (1950) there is a beguiling moment when the then modern day Orpheus, standing in front of a full length framed mirror in his room, slides his hand through his own reflection. This once hard glassy impermeable surface becomes viscoelastic, transmutes into liquid; the fragile portal through which Orpheus moves into a parallel other world.

For her fifth exhibition at Anton Kern Gallery, London-based artist Sarah Jones introduces a new body of work that shifts between studio and location, night and day, limits and limitlessness. Her subjects are re-presented in two sizes; a small format for her still-lifes and a large format for photographs made outside the studio. These new works explore artifice, the complex relationship between reality and imagination, between the fixed and the hallucinatory.

 

Sarah Jones

Sarah Jones

Sarah Jones

Using a large format field camera, and working with both black and white and color film, Jones’ works depict a range of subject matter that share a sense of impermanence; cut flowers, cultivated plants, upended glass objects, water cascading down a waterfall. A horse is photographed from one side and then the other, fixing a transitional moment when its coat changes from grey to white. The water of an ornate fountain, located in Regent’s Park, is suspended mid-stream as if iced over. The surfaces of Jones’ subjects are both waxy and slippery, often disappearing into a distinctly black photographic matte space, and often appearing out from it.

 

Sarah Jones

Sarah Jones

Sarah Jones

Only seemingly incongruous, these images are drawn together by the artist’s specific camera framing that references the Cabinet of Curiosities. Popular in the mid 1700s, displays of disparate objects based in fact and the fantastical represented the collector’s own ‘theater of the world’ or ‘memory theater’, Sarah Jones’ new photographs reframe our already cultivated natural world alongside an often glassy illusory one where nature is heightened and cultivated again through the photograph. Sliding between black and white and color, from still life to subjects in specific locations, Jones builds a distinct, peculiarly photographic, sealed world with its own logic, temporality and reduced space and palette. She stretches time, to slow down and extend silence and reverie.

Commenting on her technique with the Special Artist’s Project, Frieze, Jones has said, “The cinematic lighting technique of ‘day for night’ merges the everyday with the space of dream. It offers a metamorphosis, a transition… ‘Cascade’ comes from cascare, to fall. It implies being in between states, in suspension. The photograph holds this in liquid stasis, like amber.”

 

Sarah Jones
Through April 7, 2018 / Anton Kern Gallery
For more information please visit the exhibition page >

Recent Articles
Peter Bialobrzeski – The City / Urban Spaces
Through Jan 19, 2019 / Foto Forum
Photographer Bialobrzeski portrays human habitats just as the elder artist portrayed members…
Photographer Bialobrzeski portrays human habitats just as the elder artist portrayed members of the clergy, personages from history,…
Project Iceworm / Anastasia Mityukova
Dec 13, 2018 – Jan 27, 2019 / Museum Folkwang
In Project Iceworm, Mityukova takes a look at the tumultuous history of…
In Project Iceworm, Mityukova takes a look at the tumultuous history of the town of Thule in Greenland…
50 Years / 50 Artists
Through Dec 21, 2018 / Annely Juda
Celebrating 50 years since the gallery’s establishment as Annely Juda Fine Art…
Celebrating 50 years since the gallery’s establishment as Annely Juda Fine Art in 1968, the exhibition will feature…
Universal Declaration of Human Rights
70 year Anniversary
Recognition of the inherent dignity and of the equal and inalienable rights…
Recognition of the inherent dignity and of the equal and inalienable rights of all members of the human…
ARTPIL / Prescription .074
smile bravely at the night
The secret I am seeking lies hidden in a valley full of…
The secret I am seeking lies hidden in a valley full of olive trees, under the grass and…
Rosa de Cancio / Gustavo Pérez Monzón
Through Jan 5, 2019 / Richard Saltoun Gallery
Through paintings, drawings, sculpture and installations, Pérez Monzón uses organic materials and…
Through paintings, drawings, sculpture and installations, Pérez Monzón uses organic materials and geometric forms to grant importance to…
Elephant Juice / Kasia Fudakowski
Dec 14 - JAN 13, 2019 / 1646
Artist and performer Kasia Fudakowski has this ability to find visual forms…
Artist and performer Kasia Fudakowski has this ability to find visual forms far from any literal translation, that…
Entangle / Physics and the Artistic Imagination
Through Apr 7, 2019 / Bildmuseet
Black holes, dark matter, gravity, space, time and motion – these are…
Black holes, dark matter, gravity, space, time and motion – these are phenomena that fascinate scientists and artists…
Sarah Jones / Anton Kern Gallery
Through Apr 7, 2018

Sarah Jones

In Jean Cocteau’s post war film Orphée (1950) there is a beguiling moment when the then modern day Orpheus, standing in front of a full length framed mirror in his room, slides his hand through his own reflection. This once hard glassy impermeable surface becomes viscoelastic, transmutes into liquid; the fragile portal through which Orpheus moves into a parallel other world.

For her fifth exhibition at Anton Kern Gallery, London-based artist Sarah Jones introduces a new body of work that shifts between studio and location, night and day, limits and limitlessness. Her subjects are re-presented in two sizes; a small format for her still-lifes and a large format for photographs made outside the studio. These new works explore artifice, the complex relationship between reality and imagination, between the fixed and the hallucinatory.

 

Sarah Jones

Sarah Jones

Sarah Jones

Using a large format field camera, and working with both black and white and color film, Jones’ works depict a range of subject matter that share a sense of impermanence; cut flowers, cultivated plants, upended glass objects, water cascading down a waterfall. A horse is photographed from one side and then the other, fixing a transitional moment when its coat changes from grey to white. The water of an ornate fountain, located in Regent’s Park, is suspended mid-stream as if iced over. The surfaces of Jones’ subjects are both waxy and slippery, often disappearing into a distinctly black photographic matte space, and often appearing out from it.

 

Sarah Jones

Sarah Jones

Sarah Jones

Only seemingly incongruous, these images are drawn together by the artist’s specific camera framing that references the Cabinet of Curiosities. Popular in the mid 1700s, displays of disparate objects based in fact and the fantastical represented the collector’s own ‘theater of the world’ or ‘memory theater’, Sarah Jones’ new photographs reframe our already cultivated natural world alongside an often glassy illusory one where nature is heightened and cultivated again through the photograph. Sliding between black and white and color, from still life to subjects in specific locations, Jones builds a distinct, peculiarly photographic, sealed world with its own logic, temporality and reduced space and palette. She stretches time, to slow down and extend silence and reverie.

Commenting on her technique with the Special Artist’s Project, Frieze, Jones has said, “The cinematic lighting technique of ‘day for night’ merges the everyday with the space of dream. It offers a metamorphosis, a transition… ‘Cascade’ comes from cascare, to fall. It implies being in between states, in suspension. The photograph holds this in liquid stasis, like amber.”

 

Sarah Jones
Through April 7, 2018 / Anton Kern Gallery
For more information please visit the exhibition page >