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
From North to South, Rhythms / Anna-Eva Bergman
Through May 5, 2019 / Bombas Gens
Anna-Eva Bergman’s painting is inseparable from that experience of the world and…
Anna-Eva Bergman’s painting is inseparable from that experience of the world and from the enigma of its existence,…
Conceptions / Hans Lannér
Through Mar 2, 2019 / Galleri Magnus Karlsson
If you repeat a word long enough, the meaning will disappear, and…
If you repeat a word long enough, the meaning will disappear, and left is only a sound. Same…
Concrete Contemporary
Through May 5, 2019 / Haus Konstruktiv
How does contemporary art deal with the constructivist, concrete, and conceptual art…
How does contemporary art deal with the constructivist, concrete, and conceptual art of the 20th century? 34 artists…
Proceed to the Route / Tania Franco Klein
Almanaque / Material Art Fair
The color is red and the woman is ready. The color is…
The color is red and the woman is ready. The color is blue and the phone is ringing….
ARTPIL / Prescription .083
Blacker is the new Black
Museum admission off-sets gender pay gap; Andy Warhol eats a burger on…
Museum admission off-sets gender pay gap; Andy Warhol eats a burger on TV; Salvador Dali is resurrected as…
Works with the Body / Anna Winteler
Through Apr 28, 2019 / Kunsthaus Baselland
The body and its movements in a space are indeed the key…
The body and its movements in a space are indeed the key topics that define Anna Winteler’s practice,…
The Young Picasso / Blue & Rose Periods
Through May 26, 2019 / Fondation Beyeler
As an exceptional cultural highlight, the Fondation Beyeler is mounting a unique…
As an exceptional cultural highlight, the Fondation Beyeler is mounting a unique exhibition devoted to Pablo Picasso’s poignant…
Imaginary Islands / Lotta Törnroth
Through Feb 24, 2019 / Hippolyte
With the subtle gesture of melting seawater, Lotta Törnroth, whose artistry has…
With the subtle gesture of melting seawater, Lotta Törnroth, whose artistry has been fascinated by the ocean, its…
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 >