Exhibition Review: Jonathan Jones

I did not engage with Jonathan Jones' Revolution at first. However, as I started to look at the geometric and minimalist styled works more carefully and understand the works, I begun to appreciate how meaningful the works he had produced were. For me, learning about the intention and history behind the works made me much more in awe of this exhibition.

The light installations resemble canoes based on “traditional Koori line markings”, and shows very subtly how Jones can be classified as an aboriginal artist. Walking amongst and through the light installations was surreal. Light is usually connotative of hope and life, and by giving the boats that underlying meaning, it made me feel a sense of calmness and tranquility as I was surrounded by the bright light. One became a part of it, and immersed in the beauty of the work.

The arrangement of the light structures are interesting to note. There is one light installation in the corner that stands alone from the paired installations. It is noticeable where the light coming from it is. As I stood amongst the paired installations, it is not possible to tell where the light from one installation begins, or where it ends, as the lights from both triangular structures merge as one. This could introduce the theme of an individual and the society. This idea can also be seen in his work, titled 68 Fletcher, Bondi, 20:20, 8.6.03.

The graphite drawings, made up of various straight lines arranged in various angles, represented the “crystalline structures of salt.” I thought the intention of this was very interesting as I think Jones was trying to show how basic the natural elements were, and to perhaps make us appreciate and remind us of those simple, fundamental natural things.

Looking back on it now, the layout of the exhibition was like a photograph of a moment in history - one where settlers arrived to Sydney on canoes to a land where salt was quite important. These graphite works hung low and were almost on the same plane as the light installations, creating unity between these two pieces. Unity of the installation and drawing is, I feel, quite important. It is enhanced by the reflection in the glass of the drawings, and when one looks 'through' it, one is able to see the reflection of the light structures. This not only gave the drawings literally more depth, but extends the space making it seem bigger, like the structures would go on forever.

Without having learnt about the intention and history behind his works, it is virtually impossible to know that the geometric lines were in fact crystalline structures, and that the light installations were boats. Perhaps, this is because Jones does not want a set interpretation of his art work and instead wants the audience to decipher for themselves what his art could mean. However, having learnt this background, I am able to truly appreciate the beauty of the works and the artist himself.