Installation Views

Akg 2018 sarahjones 03 1400 0x0x3000x2000 q85Akg 2018 sarahjones 04 1400 0x0x3000x2000 q85Akg 2018 sarahjones 05 1400 0x0x3000x2000 q85Akg 2018 sarahjones 06 1400 0x0x3000x2000 q85Akg 2018 sarahjones 07 1400 0x0x3000x2000 q85Akg 2018 sarahjones 08 1400 0x0x3000x2001 q85Akg 2018 sarahjones 09 1400 0x0x3000x2000 q85Akg 2018 sarahjones 10 1400 0x0x3000x2000 q85Akg 2018 sarahjones 11 1400 0x0x3000x2000 q85
View More ImagesView Less Images

Works

Ak14536 jon camellia japonica pink i 1400 0x729x2094x1399 q85Ak14542 jon crystalquartziii 1400 0x591x2405x1605 q85Ak14545 jon cabinetxixglass 1400 0x669x2000x1334 q85Ak14540 jon vitrine ii vienna london 1400 0x308x2405x1605 q85Ak14539 jon yucca filamentosa apparition i 1400 0x603x2411x1610 q85Ak14541 jon vitrineiiiforfreud 1400 0x308x2405x1605 q85Ak14543 jon cabinet xvii glass 1400 0x678x1668x1113 q85Ak14544 jon cabinet xviii glass 1400 0x376x1080x721 q85Ak14537 jon horse profile dapple grey ii 1400 0x423x2826x1883 q85Ak14187 jon the pleasure gardens fountain ii 1400 0x126x2408x1607 q85Ak14535 jon horse profile dapple grey i 1400 0x334x2400x1602 q85Ak14546 jon vitrineivforerichsander 1400 0x323x2400x1601 q85
View More WorksView Less Works

Press Release

March 1 –
April 7, 2018

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.

 

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.

 

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, 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, Special Artist’s Project, frieze.com, 2017)

Read MoreRead Less
PDF