Contemporary Editions have released a Laura Jones print, available in a limited edition of 25.

For more information:


Group show at Gallery Ecosse with 5 artists

2 – 28 May 2015

McLean Edwards – Sarah Hendy – Laura Jones – Mirra Whale – Paul White


Sydney artist Laura Jones‘ ‘Still Life’ paintings are a celebratory expression of life. It’s not just the subject matter that embodies this, but also the artist’s emotional interpretation in which she invites us to share with her the captivating joys around us all.

Jones’ bright blooms, bountiful foliage and exotic fruits burst forth with youthful vigor from their canvases. Rich in pattern and colour and styled with casual grace, they are free-spirited bouquets that uplift the soul. Gifts from the earth; dragon fruits, pineapples, orchids and gum blossoms, are offerings from Mother Nature at her best. The seasonal joy of Jones’ handpicked harvest of flowers is bighearted, abundantly festive yet at other times beautifully solitary. The backdrops are extensions of the bountiful sentiment; patch-worked colours, abstractions of space, or dense inky black, opening up or condensing our focus.

Working with hand-picked flowers, Jones’s time is limited to their lifespan, their detail depicted broadly so that all that remains is the true essence of their spirit. Her subject matter is ageless but her lashings of confident brushstrokes are completely contemporary.

As it is we are not alone in our admiration, this exhibition is a retrospective of Jones’ work since 2012. Laura Jones appetite for life is contagious, inviting us to capture the moment, to celebrate and to share its joys.

We have cherished Jones’ vivacity since interviewing her for a ‘Chat in a Chair’ back in 2013.

Laura Jones ‘Still Life’
Hawkesbury Regional Gallery
Deerubbin Centre
300 George St
Windsor, NSW
Monday, Wednesday, Thursday and Friday: 10-4
Saturday, Sunday: 10-3
Until 24th May 2015

See the original article here:


‘Laura Jones- Still Life’, a solo exhibition at Hawkesbury Regional Gallery

10 April 2015 – 24 May 2015

Hawkesbury Regional Gallery

300 George Street, Deerubbin Centre

Windsor NSW 2756

Catalogue essay by Kathleen von Witt:

There is something inherently pleasing about still life paintings. Flower arrangements, especially. The combination of capturing the colours, the form and the transience of cut flowers in paint has an almost universal appeal. When people discuss the ‘death of painting’, I think they should add a caveat ‘except flowers’.

Flowers in art bring to mind the long history of painting, as well as the long history of gardening, of botany, the sociology of the home, and even the expansion of Europe with the bringing exotic species from around the world to be cultivated for our pleasure. From Giotto to Van Gogh flowers have had a central presence in art. Sometimes they can be allegorical, making claims of romance or piety, courage or fidelity; other times as scientific, botanical documentation of species types, and indication of wealth – the Dutch tulips spring to mind; or the exotic, like the fynbos of South Africa and the coastal health of western Australia with their Ericas, Salvias and Proteaceae. Notwithstanding the joyousness of painting to capture the colour and essence of flowers – such as Van Gogh’s sunflowers, and Matisse’s fauvist arrangements. Such paintings radiate out from the canvas a brightness, a joyousness that captures the essence of the flowers, from the sunlight and the ground that is more than just their form.

Laura Jones’ paintings have come from these robust traditional platforms and yet bring a bright contemporaneousness to them as well. As a young artist who has worked as a florist, she brings a tangible femininity to the works, as well as a strong painterly eye. She isn’t afraid of bright colours, of strong compositions and of interesting angles. Combined with a confidence and spontaneity of brushstroke and technique her still lifes are more than the sum of their parts.

Bold composition with contrasting background highlights the floral imagery and draws the eye to the flowers in a way different to those more formal arrangements of flowers by artists such as Margaret Preston, and Cressida Campbell.

Although Laura Jones’ pictures are not intended as botanical illustrations, they all contain the essence of the plant or flower: the soft sensuous petals of her roses, the bright reds and orange of the Zinnias as though in the full sun of their native Africa, contrasted with a black background to enhance the colour.

Colour is the key to Jones’ painting, and the artist has an eye for the exact nuance of colour exemplifying a plant, such as a flowering gum, or the leaves of a grevillea. The compositions are delightful in their fresh and exuberant nature: the three vases Durian and Flannel Flower Still Life, and the joyful juxtaposition of species are enchanting.

This exhibition lifts the spirits as a walk through the bush or garden filled with flowers would, and invites the viewer to enjoy these delightful works. Jones’ progression as an artist exemplifies the importance of having a dedicated studio practice and Hawkesbury Regional Gallery is honoured to be able to show her work.

Kathleen von Witt


Hawkesbury Regional Gallery​



‘In the Still’ reinvigorates and recalibrates the tradition of the still life, or nature morte. The exhibition features a diverse spread of works by twelve contemporary artists: Craig Waddell, Fraser Anderson, Dean Home, Leah Fraser, Heidi Yardley, Laura Jones, Kirra Jamison, Miranda Skoczek, Susan Baird, Kendal Murray, Dean Home, Claudia Damichi, Lynda Draper, Shona Wilson and John Baird. Drawing on a tradition ripe with symbolic currency, each artist interprets the conventional mode of the still life in creative and complex ways. From the abstract to the figurative, the works collectively cultivate a dialogue between the aesthetic and the conceptual, revealing the elasticity of the concept of the still life. The artists convey how the notion of life ‘in the still’ can be anything from a living moment, a revenant mnemonic trace or a distant dream.

27 February–21 March 2015

Arthouse Gallery
66 McLachlan Avenue
Rushcutters Bay NSW 2011




Laura Jones solo exhibition

22 November – 22 December 2014

Opens 22 November 4-6pm at Gallery Ecosse


Laura Jones has been selected as a finalist in the 2014 Portia Geach Memorial Award for a painting of artist Mirra Whale.

The Portia Geach Memorial Award is an annual award exhibition for portraiture by contemporary Australian women artists. The award, which was first given in 1965 in memory of the artist Portia Geach, displays selected entries from artists across the nation representing diversity in contemporary portraiture. The Award is recognised as one of the most important celebrations of the talents and creativity of Australian female portrait painters and has played a major role in developing the profile of the nation’s women artists.

For a list of finalists:




LauraJones_ArtistStudio_TheDesignFiles_RachelKara_22 (1)



Rachel Kara salon


Rachel Kara








Words by Lucy Kaldor

On the morning of my mother’s funeral, I had an altercation over Eucalyptus macrocarpa. It was a baking hot Christmas eve in Perth – you could’ve roasted the yuletide chook in the glovebox of our car – and I was wearing a watermelon coloured, crocheted cotton top, property of the deceased.

We’d been trawling the streets along the train line for a suitable flower to place on her coffin. I can’t remember exactly why I was so determined to snaffle some Eucalyptus macrocarpa that morning, since the casket flowers (ordered from the florist by me) were to be peonies – the most expensive flower I could think of (I wasn’t paying), and quite a contrast to the Eucalyptus.

I do remember, though, that macrocarpa was first pointed out to me by mum on one of many dusky neighbourhood walks during my childhood in Perth, and it struck me as the archetype of West Australian flora: structurally unusual and bloody outstandingly beautiful. And my mother, if not structurally unusual, was certainly unusual, as well as being outstandingly beautiful. Perhaps my subconscious found them to be a good match.

We drove up onto the verge (people do that in Perth) near Cottesloe station, where I’d located a big macrocarpa specimen. If you knew the plant, you’d know that the base of each fat flower is attached directly to the branch (or is it a trunk?) making them tricky to pick. After considering my options carefully, I set about plucking my chosen bloom, which was perfect, pink and frothy.

While I was studiously trying to dislocate the flower from its tough stem, a middle-aged couple with a sandy dog emerged from behind a large clump of Geraldton wax ten or so metres away. I suppose they’d been walking their dog back from the beach, although they could’ve been doing anything behind that giant waxflower. As they passed us on their way along the line, the man made a slight detour in our direction and offered me a reprimand. ‘They look pretty nice on the tree’, he said, throwing his voice through the baking hot air.

This, of course, was true, but I couldn’t have the whole tree, could I? So I shot back with the acid tongue of the bereaved and said ‘Yeah, and this one’ll look pretty bloody nice on my mother’s coffin.’

Duly chastened, he mumbled an apology, tripped over his feet and hurried off to rejoin his wife and labrador. As for the flower, I took it along to the funeral and plonked it into onto the casket at the designated time, where it was promptly swallowed by a clutch of hungry peonies. Most unceremonious.

It’ll be 10 years this December, and I’ve asked my friend Laura Jones to paint me a picture of macrocarpas, so that I won’t forget.

Post script 20/06/14
Laura Jones has kindly sent us a pic of the finished work. Check it out below. Such a beauty!

See the original article here:

Macrocarpa (To Not Forget) 2014, oil on linen, 115 x 135 cm

The hydrangeas in our garden bear flowers of an unmarketable hue. The base colour is grubby, faded apple­-green, like the upholstery on a collection­-day couch. On top is a rash of rosacea pink. These are the colours not of romance, but of neglect and root damage caused by a neighbouring conifer. Yet every summer the starved shrubs divert massive resources to their mop­heads. The flowers are layered like scales and the upper petals (they are actually sepals but let’s call them petals for now) shelter their understudies from the sun. And beneath each sunburnt, topmost petal is its own shadow, stencilled for perpetuity on the petal below, in a colour as pale and fresh and unblemished as a cabbage leaf. It’s magic.

I love these hydrangeas because they remind me of the enormous generosity represented in the act of blossoming. A flowering plant gives everything it has, even when it hasn’t enough. ‘This is my best’, says the plant in full bloom. And it is the generosity that is beautiful, as much as the material result.

This is what I see, and love, in Laura’s work: every painting is a blossom of her soul, and like my hydrangeas, every painting has her best. Her generosity shines brightly, even when the paint is dark and she is feeling dark inside, as she was, she told me, when some of these were painted. Bits of underpainting are visible in the final works, like cardigans half­-buttoned and hair untied. Vulnerable, sensuous, earnest and disarming, Laura’s paintings have everything to give and nothing to prove. They are not shown so much as entrusted, and they make me feel worthy.

Flowering is an act of biological compulsion performed with the grace and humility of love. This is what I imagine painting must be like for Laura Jones.

Lucy Kaldor
June 2014

‘Shadow and Soul’ by Laura Jones
Open 3 – 9 July 2014
TDF Collect
87 Albert Street
Brunswick, VIC

To view the works: