Reece Jones creates enigmatic drawings through the use of charcoal and sandpaper, constantly building up the surface of the image while simultaneously breaking it down to create works of art that evolve through a series of transitory stages or defined states of being.
In working towards his first solo exhibition in Moscow at Triumph Gallery, the artist has introduced the motif of a ‘blank’ rectilinear screen or white rectangle. This negative space inhabits a series of shifting hybridized landscapes. Appearing at times as a ‘constant’ or ‘control’ element, against which these ever changing topographies are measured, the screens are also postmodern monuments, light sources and formal devices whose characteristics dictate the composition and resonance of the works. Reference points are many and varied, including connections to film (Stanley Kubrick, Andrei Tarkovsky), photography (Hiroshi Sugimoto), Land Art (Michael Heizer, Robert Smithson, James Turrell) and abstraction (Kazimir Malevich, Mark Rothko)
As the process of constant erosion and re-imposition creates images that are both authoritative and temporal, so the collision of stark compositional geometry challenges what we understand to be ‘actual’. At first glance Reece Jones’s drawings appear to be mechanically rendered yet the inevitable surreal quality of their subject matter and acknowledgement of their materiality, produces a hybrid space that poses as many questions as it does resolutions.
“For me it is all about balancing out those different elements in a way that leaves enough disconnected thoughts to creep in… When seen as a whole the white rectangle appears as a coded sequence or some kind of narrative structure that creates a thread throughout the show. In that way I suppose all of the works end up talking to each other.” – Reece Jones