All paintings are for sale and will be rotated during the week. At least one new painting everyday so worth looking every day!
Phone or email for further information.
www.marionjones.co.uk www.chrislessware.co.uk
or phone 07985151455
Marion makes abstract geometric paintings that emphasise edges, lines and planes. They often contain transparent and opaque layers, solid and floating forms, matt and shiny surfaces and colour. She has exhibited in a wide range of different galleries and has paintings in a number of private collections.
See website for additional exhibitions -
http://www.marionjones.co.uk
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My painting is abstract; it contains no symbolism, no disguised representation, no consciously emotional content, no “reality through a prism”. It is solely concerned with the interaction of paint, charcoal, pastel with surface. In my view, there is no requirement to “say” anything in a picture that can be put into words – paint has its own language, in the same way that music has.
The question “What does this painting mean?” is therefore one that I regard as redundant. It means what it is in itself, as well, of course, as having (or lacking!) a meaning in a social-historical context.
This is not to say that I am hostile to representational painting; rather, I see no point to it other than that, that might be equally or better served by abstraction.
My pictures, then, are concerned with colour, structure, movement and stasis, texture. I am interested in contrasting textures, colours, structural factors: single central image or dispersed elements? Main image “contained” or going to edge, and by implication, continuing beyond? Blurring and concealment, as against sharpness of image; direction of mark/brush stroke; shiny or matt areas, when seen from front or oblique angle; effect of bleed of pigment; the cut of black around an image or part of one; the role of chance. I think the examples I have attached contain, when taken as a whole, all these factors.
These concerns and practices, I think, are central to all painting, abstract, representational and figurative and are perhaps obvious; nevertheless, they are perennial.
My paintings are produced, for the most part, flat on the floor; I do sometimes make preparatory sketches, but often do not – colours are sometimes mixed on a palette, but more often, on the canvas itself. I have tended to use certain sizes repeatedly; 40*30 inches (example, New Rose) until recently. Now I prefer a square – 100*100 cms (the other images). Maybe the smaller size makes for a more central image, the square for more dispersal.
As for titles, they are a convenience, to avoid using “Untitled” or dates and numbers. I often use song titles or TV programmes or personal events; I try to avoid referring to any identifiable feature of the painting itself, or accidental resemblance to some object from the real world.
I believe that I work within the tradition of Abstract Expressionism and am happy to accept that label, with the proviso that there is no implied “spiritual” or emotional driving-force or objective. In my view, the paintings should be regarded as material objects with such-and-such a pattern of shapes, colours and textures. Many artists are, I believe, blind to the “meaning” of their own works – it is the job of critics to explain them.
In summary, I see my work as traditional, possibly reactionary – painting on canvas – not relevant in any political sense; concerned with issues tackled continuously since the 50s at least, but never solved. Briefly, influences; Appel, Jorn, De Kooning, Lanyon, Diebenkorn, Mitchell. Of living artists, Albert Oelhen and Vaida Carvanho.
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