Violette Editions and Counter Editions (2013)
The Rose Gardens (Display: II) (III), 2008/2013,
Limited edition of 45, each accompanied by a certificate of authenticity
20 x 16 in (h x w, sheet size), C-type print with a signed copy of the book Sarah Jones (212 pages, 160 colour plates)
'I started photographing my new work in a municipal rose garden, from the front and back. I wanted one to be the mirror of the other and to be able to "measure" what I saw or imagined. The photographs revealed how distance from camera to subject to viewer can affect the image, how actual space related to photographic space and how light defines this. There was a feeling of being able to grab hold of a subject and it slipping away. Perhaps photography allows us to daydream; reverie is where time seems to stretch out.' Sarah Jones in conversation with A. M. Homes, Frieze, 2008
Violette Editions and Counter Editions are delighted to announce the co-publication of a new limited-edition print by Sarah Jones, entitled The Rose Gardens (Display: II) (III), to accompany the launch of the artist's new major monograph with essays by Brian Dillon and David Campany, as well as a conversation between the artist and A. M. Homes, which first appeared in frieze magazine in 2008.
Sarah Jones's photographs address established pictorial genres and our associated expectations by paring back space, subject and gesture. This book brings together work from a 15-year period, including many pieces never previously published, and looks at the themes and concerns that have remained constants in her work. The sequence of images chosen and arranged by the artist specifically for this publication is informed by Jones's interest in how we see and represent her chosen subjects, using tropes from the stereograph, the double, the still life and portraiture.
Jones first gained notice in the late 1990s for her photographs taken in psychoanalysts' consulting rooms. These provocative sites have been explored through her practice over the years, in particular the couches that, in Jones's images, show visible signs of the imprint of the patients who had reclined upon them during consultation. Her well-known later studies of adolescent girls uncomfortably caught in the flash of the camera in domestic settings draw attention to the staged relationship between model, photographer and location. Recent diptychs of horses and rose bushes refer to the viewing of early stereographic prints and explore the potential for photography to reveal uncanny perspectives on a subject. In The Rose Gardens series, Jones photographs the front and back of rose bushes in public gardens so that viewers can contemplate both viewpoints simultaneously.
Jones's overarching imperative is to look at subjects stripped back to an emotional truth. The imprints on the couches, the view of the roses that are beginning to wilt and the glazed look in the eyes of her models all investigate ideas of beauty and ritualized everyday gesture.
Solo exhibitions of new work by Sarah Jones will take place in Spring 2014 at Anton Kern Gallery, New York, and Maureen Paley, London.