Poppy Jones - Solid Objects
I’ve been struggling to describe the latest Poppy Jones solo because there’s nothing gimmicky, nothing contentious and nothing at all, really, to warrant overly expressive prose or gratuitous use of superlatives. It’s just nineteen modestly sized still lifes, classically composed and set in sleek, aluminium frames. It’s a masterclass of understated elegance. And it’s much, much more.
The works begin with Jones taking photographs. The prevalence of sepia tones might convince you these are antique photography from the late 1800s except the effect is not from daguerreotype or tintype… but suede. She prints her vignettes onto second-hand fabric and so any colour you see primarily derives from the material, tinting the entire composition of what is essentially a black & white image. Jones then selectively augments the canvas with oil or watercolour, though it’s often impossible to detect those interventions.
Many of the works are set on suede and a careful inspection shows weathering of the material. A few have tell-tale finger trails where the artist, or maybe bold gallery staff, has caressed the smooth surface. It’s something I’m tempted to do every time I see her work. Silk is also used. In one piece it adds a true to life sheen to a purple puffa jacket. And in this show Jones has introduced a new material, cotton, to match the unmistakable imagery of men’s office attire. Another new exploration is the incorporation of multiple colours. A plate of tomatoes and a single egg both incorporate this effect, ensuring the edible elements further stand out from the colour of the suede canvas on which they’ve been placed.
The small size of the works means most aren’t easily recognised from across a room. From a distance many appear to be solid colour abstracts. As you approach, the spine of a notebook or the snaps on a jacket take shape, drawing you closer to even finer details such as the veins of a leaf or tailored stitching. The use of matched materials in the works depicting clothing creates such a life-like effect that the first time I saw Jones’s work I was convinced she had simply sewn a suede jacket into a frame.
You could spend hours debating how to classify these works, which incorporate elements of assemblage, collage, painting and photography, but I find myself distracted by how they make me feel. The faded colouring hints at history but these don’t trigger nostalgia. Reinforced by images of mostly timeless looking items, the works feel both old and new. Except there are no signs of the modern, hi-tech world other than the knowledge that Jones photographed the items last year. They look faded and time-worn, but they’re thoroughly contemporary.
Tulips, empty water glasses, a wrinkled men’s shirt. There’s nothing inherently exciting about these things on their own, even in a carefully cropped composition where shadows and angles add a bit of intrigue. Then again, I’m not really a fan of still lifes… but I can’t get enough to Poppy Jones’ work. It’s amazing how a bit of texture can transform an innocuous image.
Plan your visit
‘Solid Objects’ runs until 13 April, split across two venues.
Visit heraldst.com and follow @herald_st on Instagram for more info about the venues.
Visit poppy-jones.co.uk and follow @poppymjones on Instagram for more info about the artist.
PLUS…
Check the What’s On page so you don’t miss any other great shows closing soon.
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