|Sal Jones has a BA Hons degree in Fine Art and lives and works in London. She has exhibited extensively in London as well as in group and open exhibitions elsewhere in the UK. Works are held in private collections in the UK, Europe and the United States.|
Her work is generally figurative; utilising photographs and found images as starting points; transforming them to alter interpretation and produce emotionally charged works. Recent work has been inspired by images appropriated from film, photography and the media, and exploits the conventions of cinematography; heavy cropping, close-ups, angled shots, saturated colours, as well as the use of dialogue for titles.
I'm interested in developing ideas around fiction and reality and shifting contexts, how we interpret and relate to images as spectators and how they affect us. Current work examines emotion and perception through fictitious characters and de-contextualised dialogue.
Although my image source is usually a photograph I am not trying to create a photo-realist work in any way but rather a re-interpretation of that photo as a painting. I am constantly exploring what happens to the image through the process of applying the paint.
I don't want the work to be too prescriptive but to remain ambiguous, open to individual interpretation. I don't want a passive observer, I want to create an interaction, a response or empathy that is personal to the viewer. Essentially, I'd like to elicit an emotional connection between the subject and the spectator.
The paintings shown here on this site are from the series 'Leading Ladies'. In this body of work the subjects are the female leads of European crime dramas, thrillers and film noir, women frequently portrayed as in a state of inner conflict. These are women who are strong, dominant and seemingly aloof, routinely cast as unable to form lasting relationships and for whom a private life and a work life are at odds (an issue rarely touched on in male character leads). They are fascinating, flawed, avowedly anti-feminine subjects; subjects who refuse objectification. I hope to capture a moment, a gesture, an expression that conveys some of their pragmatism and turmoil and also their strength and beauty. The fiction of the character is heightened by an exaggerated use of colour and sometime-subtitled text. The subtitles or dialogue become the paintings titles.
This series is an attempt to capture the action of expression out of context. Unlike the women of magazine adverts - inert, amiable and awaiting the impressions of the viewer - these gestures are unselfconscious, everyday, universal and not intended for immortalisation.
In the absence of any storyline the viewer must project their own personal drama.