Ian Brown & Paul Jones
Dust and Clouds: Dots and Pixels
March 8th – April 12th
Gallery open 7 days – 9.00am – 5.00pm
Ian Brown and Paul Jones both share an interest in the same source material; images of elemental natural forces at work. Each has a fascination with the almost intangible nature of this phenomena where ‘dust and clouds’ of poetic beauty describe events of cataclysmic proportion.
For Paul Jones this is a touchstone connecting him to an interior world of the imagination, while in perhaps a more detached manner, Ian Brown is looking into the way we experience the act of looking. Dots and pixels act as the mediation between the real world, the photograph and its expression in print.
Both artists come together in this show of drawings and prints as Paul collaborates with Ian to convert and reconfigure some of his drawings into print, through the solar plate etching process.
Brixton Hill SW2 Super Cell Series
Ink, compressed charcoal on
Paul Jones’ work stems from questions of memory and imagination. All his work has this strong thread connecting them. Though the viewer may find a myriad of materials and media being used, his goal is to push concepts through the work, balancing the believable, observable world with the unbelievable, the unseen, the unheimlich.New drawings have been produced using charcoal on tracing paper the starting point are internet images from storm chasers.
Storm chasers are used as vicarious conduits so as to experience these special cloud systems. The end results are fully appropriated images as drawings with titles’ that refer to Jones’ local inner city home to contrast the big open space of Midwest America were many of the weather systems referenced occur.
Tromba Marina I,
Ian Brown’s subject matter is extreme natural phenomena taken from a range of sources. Whilst on the one hand these prints appear to be a search for the sublime in the face of often potentially destructive natural forces, they are also an exploration of the way photographic images are delivered.The four colour process through which we receive printed imagery (on paper) is frequently referenced, reminding the viewer of the mechanism that deceives the eye. As a consequence most of the prints have two viewing distances, close up where the roseate clusters can be seen, and at distance where the image prevails.In more recent works the use of photopolymer etching techniques allow the digital signature of low resolution imagery to be made manifest.