Jonathan Jones- GBK

Jonathan Jones work captured my attention more so than Kate Murphy’s when visiting Breenspace and GBK galleries last week. Jones’ light installations we viewed were simple and I found them to be very elegant. They had an almost regal or majestic ‘floating object’ sensory appeal to them. This for me was due to their shape- the elongated triangular forms seemed to construct images of paper planes, boats or dove-like birds as Barry the GBK Gallery owner brought to our attention. Before reading the hand outs on Jonathon Jones my first understanding of his pieces were on more of an abstract level (as this is a topic clearly fresh in my mind!) relating him to the works of Donald Judd who I had presented on for assessment. I felt Jones’ was questioning space contrasts- negative and positive reflections in the world, highlighted by the way in which the hanging images on the walls were black lines- holding the linear theme yet seeming to be on more of a contrasted tone to the white fluorescent lights. After then reading the handouts and following on with some research, I found it very interesting to understand the influence of his indigenous heritage on his work. For what I saw as simple minimalist work- I hadn’t fully engaged in the connection to indigenous motifs, such as the composition of the lights suggesting communities of people (as mentioned in Jonathon Jones- by Anna-Marie White), as well as the idea of shapes used in dreamtime to tell stories. Although my initial interpretation of the work was very basic, the development from my first feelings of negative and positive space saw I was able to draw out a much more in depth notion of his political perspectives, still connecting to my initial interpretation, the comment of Anna- Marie White ‘The sophistication of Jones’ work is that one interpretation does not come at the expense of another”- ringing true- one seems to develop another. I started to look again at the reflections on the black lined paper created (clearly purposefully as the paintings are hung low to match the level of the light installations) by the white lights. I feel almost a beautiful sense of isolation because the ‘connection’ as such, made on the painting is actually barricaded by the Perspex frame enclosing the paper, further still the ‘connection’ made is false, its not real, it is simply a façade of light. A common comment in both readings given to us on Jones’ work is his subtlety when it comes to his political stance. I think this is a very respectful attribute to Jones’ works as, instead of blatantly pushing an issue to his audience on behalf of his indigenous heritage, he uses every definitive aspect of conceptual art to his advantage. He induces or provokes the thoughts of the audience, to lead them to his intention in a sort of ‘make of it what you choose’ attitude, leaving us with that right to make our own judgment, this in itself adding to his political theme.

Jones’ has used what art critics first connect to as traditional abstract form and created a whole new meaning of indigenous art within the contemporary world, finding a new means to gain respect for his heritage and its stance within today’s political society.