Sal lives and works in Hackney, London. She has exhibited extensively in group and solo shows, and been selected for annual open exhibitions with ING-Discerning Eye, Society of Women Artists and Royal Cambrian Academy; shortlisted for the Wales Contemporary Art Prize (2022), and WAC awards (2023)
Sal in the studio (2022)
Working primarily with oil paint on canvas Sal’s fascination with painting focuses on our relationship with representation; particularly with regard to human expression and communication. Her emotionally charged paintings, portraying, often, fictional subjects, capture the action of expression out of context whilst transforming the stereotypical portrait. Using subjects that she has sourced from cinema the media and popular culture she creates works that explore human reaction and empathy on a personal level. Her work investigates our love of the dramatic, focusing on scenes of questioning, love, betrayal, and power-play; along with titles originating from dialogue, they invite the viewer to share and empathise with this inner world of familiar strangers.
The painted surface draws attention to the process of painting and to the artist’s choices in transforming the photographic source image.
Sal Jones
INSTAGRAM https://www.instagram.com/senojlas/
TWITTER https://twitter.com/senojlas
FACEBOOK www.facebook.com/saljonesart
1 - Could you explain your practice? Only you know why you do what you do.
I work in oil on canvas, I make figurative paintings that focus on our relationship with representation; particularly with regard to human expression and communication. Recent work is primarily in the genre of portraiture. I am particularly drawn to a gesture captured rather than traditional poses, those unguarded moments; I work with photographs as sources.
My work is influenced by the conventions of cinematography, dramatic lighting, saturated colours, close-ups and crops. I am interested in the way the face and figure are re-presented through the medium of photography and film, the way the lens and screen distort and alter views, adding another perspective.
I select subjects and themes that resonate in some way - something I feel we can relate to as viewers; I want to take a moment to connect, by capturing a glance, a gesture, an emotion that unites us, a shared experience. I want to find the essence of a person or character - the emotion, the ambience that surrounds us and all the tension behind the external expression.
When painting I like to allow the process to dictate the outcome to some extent, responding intuitively to what works visually. Sometimes painted rapidly in one go (alla prima) other times built up over a period of time and altered as they progress. I paint directly on the canvas (or surface) then build up layers from washes to more gestural mark making, often combining brushwork with palette knife, inventing colour palettes and marks that are emotive to the subject and experimenting with mark making and tools to apply the paint.
The painterly surface separates the works ultimately from the flat screen image that
originally inspired them; adding to the expression of the piece whilst emphasising the act of painting and the subconscious decisions made in the process.
2 - Is art relevant today?
Art is relevant to those who appreciate it and those who make it. Without a creative outlet and a way to express oneself what do we have left? It is therefore always going to be relevant to the artist. The relevancy of art to the observer is really a matter of how they see and interpret it....so is up to the nature of the observer.
In terms of historical relevance Art always has a place, it shows the culture and psyche of the society in which it was created. It’s a record of the times we live in, on a more emotional level rather than just factual.
I'm A Different Player Now, oil on canvas, 2021
3 – We are always asked what other artists influence us, we want to know what art you don’t like and which influences you?
Mmm – the art I don't like... art that does nothing for me, has no effect, no engagement.
I find anything to slick, where you can't see the artists process (also works that are too chocolate box) I find a bit nauseating.
Sometimes work that is too overly conceptual whilst having no visual stimulus,
no humour and doesn't leave room to challenge or question...
its not that I dislike conceptual art but it has to be an interesting and stimulating concept.
I find inspiration from different art forms (visual/music/film/theatre /books etc) paintings, installations, experiences... so different artists/directors/performers too and whatever things I am particularly into at a period of time.
Things I see, experience, find …. inspiration can come suddenly – I think it's often best to take it and not overthink it before trying it out. Sometimes it makes more sense once you start the process.
4- If you could go back 10-20 years what would you tell your younger self?
Time flies. Do it now, lose the inhibition, believe in yourself.
5 – If you could go forward 10-20 years what do you hope to have done or not done?
I hope to have achieved a sense of self worth and made a positive difference in some way.