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Re-arranging the Dust: supports, auxiliary supports and grounds from studio residue

Lookup NU author(s): Professor Christopher Jones

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Abstract

A group of small-scale, site-responsive constructions Jones made during three residencies 2011-13, were employed, along with their packaging, as a starting point to consider:- how discarded and displaced material of only lingering value might be transformed into objects of presence.- the directive potential of an artwork’s material support. A first stage saw the deconstructed artworks and their associated residue provide material for assemblage improvisations exploring its formal, conceptual and expressive potential. In a second stage traditional gesso was applied to subjugate the inherent physical, site-responsive characteristics of the material, substituting these with reference to traditional technique, time-taken, and the handmade. The resultant objects became supports for wall and floor-based artworks, developed in distinct series. This progresses Jones’ interest in assemblage methodology (Trace-Retrace, 2007) and the hand-sized and understated (The Hour & the Age, 2011) whilst challenging his concern with the site-responsive (Unmonumental 2011-13). The project contributes new methods and forms to the re-emergent field of interest in assemblage and found materials (Tuttle, Black, De la Cruz) and material legacy (Landy’s Break Down & Art Bin). It is in dialogue with the legacy of cubist/dada assemblage, Arte Provera and Mono-Ha everyday materiality and painting exploring the surface/support relationship (Ryman). Selected works have been exhibited in: ‘Foreign Encounter’, FOE, Munich, 2015; two iterations of ‘paper, table wall and after’, Gallery North, Newcastle / National Taiwan University of Arts Gallery, Taipei, 2014/5; ‘Beyond Words’, Long Gallery, Newcastle, 2018 which Jones curated to accompany the AHRC-funded international academic conference ‘40 years with Murakami’ (PI: Hansen, Newcastle), with exhibition publication, ISBN 978-1-5272-2087 (co-authored, Hansen); Arts University Bournemouth’s ‘Folding Islands, Drawing Boundaries’ event, British Pavilion, Venice Architecture Biennale, 2018 (collaborative works with Bowen, AUB). Works shortlisted for, and shown at: Wells Art Contemporary Awards 2018 and Trinity Buoy Wharf Drawing Prize 2018 (formerly Jerwood Drawing Prize).

Publication metadata

Artist(s): Jones C

Publication type: Artefact

Publication status: Published

Year: 2015

Venue: FOE Gallery, Munich; Gallery North, Newcastle; National Taiwan University of Arts Gallery, Taipei; Long Gallery, Newcastle; Bishops Palace, Wells; Trinity Buoy Wharf, London & 4 venue UK tour, British Pavilion, Venice.

Location: Munich; Newcastle upon Tyne; Taipei; Wells; London; Venice

Type of Work: Wall-based objects, assemblages, drawings, collaborative floor-based sculptures, paintings

Short Title: A body of 200 small-scale wall and floor-based assemblages that reclaim the material remains of a group of site-responsive works from 2011-13

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