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All work is ©Evey Jones and may not be copied or reproduced in any manner
without the express written permission of the artist.
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©2010 Evey Jones
shadows of the dance at Kassel
#1 suite of four 17 1/2” x 18”
silk with monotype
©2010 Evey Jones
shadows of the dance at Kassel
# 3 suite of four 14” x 13”
silk with monotype
©2010 Evey Jones
The Heart of the House is Gone -4-
26” x 21”
silk with monotype
©2010 Evey Jones
The Heart of the House is Gone -3-
22 1/2” x 25”
silk with monotype
©2010 Evey Jones
The Heart of the House is Gone -2-
22 1/2” x 25”
silk with monotype
©2010 Evey Jones
internal/external/eternal
17 1/2” x 21”
layered silks with monotype
©2010 Evey Jones
homescape in blue
18” x 17 1/2’
silk with monotype
©2010 Evey Jones
homescape in three movements
19” x 17 1/2’
silk with monotype
Evey Jones doesn’t take shortcuts. Her monotypes are the last phase of an intuitive yet
exacting process. When she travels, Jones might see something out a window that
attracts. The artist is drawn to light and color changes in an environment, which she
photographs as an aid to her memory. At home, she prints these out and begins playing
with the scale and format, using xeroxes as a means of transforming the original
information.
Moving to a sketchbook, she works out patterns and motifs in pen, which become the
basis for a sequence of watercolors of varying sizes. This shift creates a very different
relationship of her hand and movements with the page, as the process becomes
increasingly tactile — from image to object. Jones then takes on large charcoal studies in
which black and white assume a rich presence.
Finally Jones works the plate: “my fingers in the ink, mixing it, the texture, the smell of
the ink, the ‘feel’ of the press.” Never spending more than two days, she becomes
absorbed with the viscosity of the ink, adding and removing in a way that is almost
sculptural. Printed on silk, the bold monotypes become one with a material of ancient
association and itself a natural metamorphosis.
The haunting images that she creates are suggestive of narrative but defy defined space
and linear time. Cloaked shapes contrast with outstretched figures — closed with open
forms — both simultaneously childlike and eternal. In the work selected for “Originals
2007,” One Leads, One Follows, the very title suggests how meaning consists of
relationship and distinction. Yet Jones undercuts any absolute reading. Instead she allows
for exchanges of spatial configurations and ground, which becomes more of a
“conversation” among elements.
Admiring early Renaissance painters, Jones juxtaposes the iconic embodiment of light in
her saturated blacks and whites with its more naturalistic representation. The illusory
quality of light is woven into the composition as a rendered effect and as an almost
mystical aura, a fluctuation from one plane or dimension to another. Combining individual
memory and collective consciousness, flesh and dream, Jones seeks the unpredictable
where “two unlikely things come together.”
