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G E 0 R G I A J O N E S
g e o r g i a j o n e s p a i n t i n g . c o m
‘ A s s i s t e r a r t s , p a i n t i n g a n d s c u l p t u r e h a v e
a l w a y s c o m p l e m e n t e d a n d n o u r i s h e d e a c h
o t h e r . T h e r e i s e v i d e n c e t o s u g g e s t t h a t i n
c l a s s i c a l a n t i q u i t y p a i n t I n g c o -‐ e x I s t e d w I t h
s c u l p t u r e i n a s y m b i o t i c r e l a t i o n s h i p . ‘
J O H N G O L D I N G ( C A R O a t t h e N a t I o n a l G a l l e r y )
P r e v i o u s P a g e
Pink Moon
Emulsion on dartboard
142 cm (Circumference) 45 cm (Diameter)
2011
G E O R G I A J O N E S ‘ work is based on colour and its relationship
to form in painting. The idea of the ‘frame’ is used to explore the
relationship with colour and form in both a two and three-‐dimensional
context.
Polyvinyl chloride (PVC), dismantled stretchers and found objects;
including clothes rails, steel stools, bricks and dartboards are used in
conjunction with paint in order to experiment with the boundaries
that exist between painting, sculpture and design. Painting and
sculpture work as a pair in the work, resulting in paintings bordering
on sculpture and sculpture bordering on painting.
‘ I started as a painter and I never stopped making paintings. And still,
part of what interests me is a pictorial way of looking at things.
Viewing through pictures is part of our experience of the world, an
experience which happens to be often associated with art.’
J E S S I C A S T O C K H O L D E R
Red Wedge I
PVC, wood and satin 240 x 120 x 140 cm
2011
Installation Shot as part of ‘Protect and Survive’
‘ C l o t h e s a c t a s s k i n s o v e r o u r s k i n s ; c a r p e t s a c t a s s k i n s o n o u r f l o o r s ; w a l l s a r e t h e s k i n s o f o u r r o o m s ;
w e s e e t h e o u t s i d e s k i n o f t h e f u r n i t u r e ; a n d t h e p a i n t a c t s l i k e a s k I n o n a l l t h e s e s k i n s , i n c l u d I n g t h e g a l l e r y w a l l . ‘ J E S S I C A S TO C K H O L D E R
‘ F o r a l o n g w h i l e p a i n t i n g , i n m a n y w a y s h a s t r i e d t o a p p r o x i m a t e t o t h e c o n d i t i o n o f s c u l p t u r e w h i c h , i n t u r n , h a s p u s h e d i n – c r e a s i n g l y t o w a r d s t h e s p e c i a l p l a s t i c i t y , f l u i d i t y a n d f r e e d o m o f p a i n t i n g ‘’ B R Y A N R O B E R T S O N ( C U R A T O R )
Red Wedge II
Oil on hessian 60 x 90 cm
2011
N i c k M o l l o y d e s c r i b e d A n n a H a l p r i n s d a n c e r s , i n
t h e s a m e w a y t h a t t h e u t i l i s a t I o n o f e v e r y d a y
o b j e c t s c o u l d b e d e s c i b e d i n G e o r g i a J o n e s ‘ a r t .
‘ T h r o u g h h e r a r t , H a l p r i n w a n t e d t o b r e a k a s
m a n y b o u n d a r i e s a s s h e c o u l d , m o v i n g o u t o f
t h e a t r e s , g e t t i n g c l o s e r t o t h e a u d i e n c e a n d
i n t r o d u c i n g t h e l a n g u a g e o f e v e r y d a y m o v e m e n t
i n t o h e r w o r k . S h e h a s s p e n t h e r c a r e e r t r y i n g
t o u n d e r s t a n d n o t o n l y h o w t h e m i n d i n f o r m s
t h e b o d y ’ s m o v e m e n t b u t a l s o h o w t h e b o d y i s
c a p a b l e o f i n f o r m I n g i t s o w n m o v e m e n t . I n h e r
v i e w , d a n c e is n o t r e s e r v e d e x c l u s i v e l y f o r
t r a I n e d p r o f e s s i o n a l s , b u t i s a n e x p r e s s i o n o f
t h e b a s i c f o r m s w i t h i n u s a l l . ‘
N I C K M O L L O Y
To Reconfigure
Wood, steel stool and cotton
Measurements variable 2011
‘ I l i k e t h e r e t o b e p l a c e s w h e r e t h e m a t e r i a l I s f o r g o t t -‐ o n ; b u t I a l s o l o v e t o f o r c e a m e e t i n g o f a b s t r a c t i o n w i t h m a t e r i a l o r s t u f f . C o l o u r i s v e r y g o o d a t t h i s , a l w a y s v e r y r e a d y t o a s s e r t i t s e l f a s i n d e p e n d e n t o f m a t e r i a l . ‘ J E S S I C A S T O C K H O L D E R
Detail of ‘ To Reconfigure ’
‘ S t o c k h o l d e r ’ s w o r k a l m o s t a l w a y s i n v o l v e s t h e
u s e o f p a i n t , b u t p a i n t i s n o t u s u a l l y t h e m o s t
p a i n t e r l y e l e m e n t i n h e r w o r k . ‘
B A R R Y S C H W A B S K Y
P H Y S I C A L C O M P O S I T I O N S B o o k a b l e S p a c e 0 6 . 0 4 . 2 0 1 1
W o r k s i n P r o g r e s s
‘ A l l t h e c o l o u r s e e m s f u l l , o r I g I n a l l y c o n c e I v e d f o r t h e i r h a p t I c b r I l l i a n c e. T h e r e a r e n ‘ t a n y t r a n s i t i o n s , n o t r a n s p a r e n c y a n d n o c o l o u r s f l o w I n t o o n e a n o t h e r ‘ D I R K L U C K O W ( r e g a r d i n g I m i K n o e b e l )
Circles of Latitude
Oil and emulsion on canvas 120 x 80 x 4 cm
2011
P r e v i o u s P a g e s L E F T Three Dimensional Composition Emulsion, gloss, cotton, metal rail and stool Measurements Variable 2011 R I G H T Locomotion Oil paint, emulsion, faux fur and dart board Dimensions Variable 2011
G e o r g i a J o n e s g e o r g i a j o n e s p a i n t i n g . c o m g j o n e s p a i n t i n g @ h o t m a i l . c o .u k