Patrick Jones, No Pasaran IV, acrylic on canvas, 2008 (courtesy of the artist and Hillsboro Fine Art)
John Yau reviews the exhibition Patrick Jones: Survey at Hillsboro Fine Art, Dublin, Ireland, on view through July 16, 2013.
Yau writes that the show "ended up whetting my curiosity more than satisfying it, especially as it became clear to me that the exhibition was not about to offer anything near a comprehensive view of Jones’ achievement, much less his recurring interests. But perhaps curiosity rather than satisfaction is — rather perversely — the best to take leave of any artist. Nevertheless, I came away from the exhibition with what I am sure is a skewed understanding of Jones’ work. His mastery of the various process associated with Color Field and stain painting is apparent from this sampling of works, as is his command of the gesture and vocabulary we associate with the Abstract Expressionists, particularly Jackson Pollock’s drips and Adolph Gottlieb’s signs. A range of this kind would overwhelm many artists — and this certainly could be one reason why, in the face of such heavy precedents, parody and citation became the go-to modes of production. Jones, however, never became ironic. He wanted to take all this history on and find a way to make something that is his own. In that sense, he is a modernist rather than a postmodernist."
If there’s one thing the 21st century is teaching us, it’s that the act of painting is far more generative than 20th century end-game modernism predicted. This is certainly the case in the paintings of Patrick Jones. Over the course of a long career, Jones has developed a rich visual language and applied his rigorous, abstract process to a wide range of interests from Dogon carvings to political injustice. In his recent work, Jones’ poured and stained canvases have absorbed the space, light, and color of his coastal surroundings.
I recently had the opportunity to correspond with Jones about his career and recent paintings. He has been kind enough to share with Painters’ Table his thoughts on painting and images of his work in advance of a retrospective exhibition, Celebrating Abstraction, which will be on view June 7 - 14, 2012 at the Appledore Festival. What follows is a reflection on Jones’ work punctuated by Jones’ own observations.
Patrick Jones, Mindscape, 2012, acrylic and yacht varnish on canvas (courtesy of the artist)
Nick Moore reviews the recent exhibition Pure Colour, paintings by Patrick Jones at Gloss-Art, Exeter.
Moore writes: "Walking through the rooms in this show was like having access to the thoughts, feelings and process of the painter; there were themes, variations, series and one-off experiments and it is rare to see this openness in an exhibition... one was hit the vitality of Jones’ process as an artist... The No Parasan format has served as a vehicle for Jones’ lively improvisation and experimentation through the intuitive application of colour, layering differing applications of paint onto the canvas. The variations allow for ongoing exploration of a theme, indeed of painting, in a meaningful way. One immediately notices that there is an upward slant to the structure as the middle band lifts up to the left, reflecting the kind of tectonic, emotional upheaval that goes into the paintings."
Edited by artist Brett Baker, Painters' Table highlights writing from the painting blogosphere as it is published and serves as a platform for exploring blogs that focus primarily on the subject of painting.