Jonathan Jones- Revolution @ GBK Gallery

Jonathan Jones’ exhibition Revolution at the GBK Gallery was an interesting merger of ethnicity and heritage with the the contemporary society. I was quite drawn to his work, and how visually stimulating it is. The interaction of the viewer with the light sculptures and the reflection on the graphite works and perspex was very intriguing.

Jones’ work involved many elements of his culture and heritage, from the simply linear structures presented in the sculptures and in the graphite drawings. He used a salt mineral for the graphite, which was collected from the natural environment, gathered on the banks of the Murry River, one of the largest river systems in NSW, demonstrating the connection between the land, the ways of his ancestors and his indigenous heritage. In contrast, the artificial fluorescent light, a clear symbolic material of modern human civilization, impacts overall essence of these graphite drawings. The light, whilst quite harsh, creates depth through the reflections, to these minimalist drawings. The effect generates the drawings to have an almost sculptural 3D element.

The light sculptures vividly contain a connection to Jones’ indigenous heritage. From Barry Keldoulis, we heard the account that the physical structure of the sculptures, consider the Aboriginal canoes which we used to cross the harbor. The works utilized two double sided triangles made of fluorescent lights, joined at the base and tilted to an angle. The balancing nature of the structures perhaps emphasizes the fragility of the relationship between the natural based graphic drawings and the artificially sourced light. Within this balance it is also discernible the ease in which they could topple over and shatter. This manipulation of space creates a captivating atmosphere for the viewer, who becomes a part of the enveloped space. The viewer becomes entirely immersed in his installation, consumed by reflections, light, balance and its energy.

The choice to install the graphite drawings level with the light sculptures gives the space an intricate undertone, assuring that each work is not untouched by another. The relationship between the light sculptures and the drawings is very dynamic being entirely dependent upon the viewer’s focal point and position in the space. The distinct lines are interwoven with contrasting ends of the colour spectrum, with different levels of light being sent back. As the viewer movers further away from the drawings, so does the light, until it becomes almost gray and illusory.

When considering the title of the work Revolution, and interesting element is added where no circular motion, curves or revolutions are present. Perhaps this title then relates to society and its rotating advancement and progress. For it seems for as much evolution as humankind has made, we seem be moving further away from progress in itself, and all natural foundations of what defines a humanity. Jones seems to connect the work to the artificial and superficial nature of contemporary society and the relations to the past, to our history and heritage.