I am a finalist in the Yen Young Australian Art Award for my painting “Live Forever” pictured below. The finalist exhibition will be held at Gaffa Gallery in Sydney from the 27th of June, 2013. To view the finalists go to http://www.yenmag.net/artery/yen-female-art-award-finalists-2013/
“The House That Lars Built” is an interesting blog that asked to interview me after reading “Chat in a Chair” with Sydney’s Arent & Pyke. You can read it here: http://www.thehousethatlarsbuilt.com/2013/03/in-my-next-life-painter.html
Photos by Luisa Brimble courtesy Arent & Pyke
Issue 62, March 2013
“I Paint, Therefore I Am” pp. 42-46
A friend of mine Maria takes beautiful photographs and posts them on her blog Schorlemaedchen. She came over the other day to take photos of my studio while I was making paintings for my recent exhibition “With Flowers”.
You can see the rest of them here:
Interview titled “Chat in a Chair” with Sydney’s Arent & Pyke. This was a handwritten interview, and I got to choose the chair! http://inoutdesignblog.com/laura-jones-chat-in-a-chair/
Photos by Luisa Brimble.
The Art Gallery of NSW Contempo Society and Art Month 2013 present:
“In Situ: Studio Visit
Laura Jones, Alan Jones and their studio mates throw open the doors to their Alexandria studio to give us a sneak peak into their practice and workspace. Come along for a tête-à-tête, a cup of tea and an insight into the creative process of some of Sydney’s freshest artists. ”
9 March 2013
Art Gallery of NSW
Art Gallery Road
Sydney, NSW 2000
For bookings and more information:
view Art Gallery of NSW website
view Art Month website
view Alan Jones website
Photo by Carine Thevenau
Recently Lucy from The Design Files posted an interview with me about my work on her blog. You can read it here. Photos by Carine Thevenau
Starting this Saturday the 12th of January I have some paintings on show as part of a public art project at St James and Museum Stations in Sydney. ”The Conductor’s Project” rotates artists monthly, displaying works inside old glass cabinets within the stations. You can read about this here: http://www.conductorsproject.com/
Nicholas Harding has kindly written an essay about my work.
The Conductors Project- Laura Jones
Montrent des Fleurs 12 Jan – 9 Feb 2013
Laura Jones has a wonderful way to describe drawing form with paint: “It’s like dropping a blueberry onto yoghurt. The way the surface gently holds and cups the berry”.
Recently Jones has been looking at flowers and painting them, working the tradition begun with depictions of still life found in Egyptian tombs, developing through Roman murals to the still lifes imbued with religious symbolism of the Middle Ages and Renaissance, then burgeoning with secular fascination since the Dutch Golden Age and painters such as Maria van Ooosterwijk. Along with the development of oil paint, this tradition continued on through to Modernist transformation with the likes of Manet, Van Gogh and Hockney.
Sam Fullbrook was an Australian artist inspired by the colour of the flower growers’ gardens he grew up amongst in Chippendale, and he used flowers as a means to painterly lyricism. Jones’ motivations are also poetic, not concerned with the tyranny of description. Soaking up floral splendour during the course of her flower shop day-job also affords her the opportunity to seek out possible motifs which, once chosen, are taken to the studio where these brief flourishes of nature are placed in a vase on a table. As soft light from the warehouse windows bathes the colours, astute observation and imagination come into play as a series of possibilities to be explored begin to present themselves. Most of these will be discarded but others will be chased and seized as the discipline of process takes command and blooms of paint form into abstract invention.
Jones takes what is required from her forebears, such as Matisse, Bonnard and Nolde, reforging it into her own visual language. There is a succinct affinity with the nature of paint evident in the supple flux of her brushwork. In Flowering Gums the cool ultramarine vase anchors the vermillion blaze of blossom mass, all deftly held in a harmony of muted pinks and greys. These works may be figurative but their ambitions are abstract. In Slipper Orchid we can see how Jones pitches the fore-, mid- and backgrounds across the same compositional plane, the colour intensified to reflect the pleasured sensibility. The dappled colour-field shadows of the wall behind the vase of blooms in Summer Flowers echo the forms of the flowers themselves and we can see how she holds the shape of the cerulean table-top by painting in the space behind it. Her “cupping” of form is splendidly realised in the way the umbers sensually embrace the gentle fall of the petals in Poppies.
In an often jaded world these radiant elegies refresh us and we are reminded to appreciate life’s transient affirmations.
Photos by Jenni Carter
I recently had extremely talented photographer and friend Carine Thevenau come to take photos in my studio. More pictures and story to follow but have a look at her blog for a peek at more of her work. Thank you to Mikarla Shailer Bauer for styling.