Sarah Jones

The Rose Gardens (Display: II) (III) (2013)

Edition of 45
50.8 x 40.6 cm (20 x 16 in)
Accompanied by a numbered certificate of authenticity signed by the artist.

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Taken from the artist's 'Rose Garden' series, 'The Rose Gardens (Display:II) (III)' combines the poise, sharpness and creeping uncanniness which makes Sarah Jones's photographs so distinctively arresting. Brilliant light falls onto a decaying rose bush, pulling the flowers and their languid stems into the surface of the image and effectively isolating the bush from its surrounding space. The intense lighting reveals in minute detail the vivid colours and varied textures of the rose bush - the glassy smoothness of the leaves, the curling delicacy of the petals, the pebbled lichens on the knotty trunk. "Photography allows us to scrutinise something; like putting a glass dish over a specimen to look more closely at it," Jones has commented. Both beautiful and dark, 'The Rose Gardens (Display:II)(III)' is a hypnotic and mysteriously satisfying image.

This limited edition print has been created by Sarah Jones as part of a partnership between Counter Editions and Violette Editions. The photograph comes in a specially made acid-free portfolio and comes with a copy of the monograph 'Sarah Jones', published by Violette.
Sarah Jones' pared-back photographs are characterised by a subtle but powerful psychological tension. Best known for her images of therapists' couches and of roses from municipal rose gardens, her images typically combine a relatively shallow depth of field and an almost obsessive sharpness of detail with a limited but intense palette. Jones' interest in the notion of mirroring, both as an act of photography and in the psychoanalytic sense, and her fascination with the idea of the camera as an onlooker or a third eye, provoke a consideration of the act of viewing on behalf of both photographer and viewer. "I photograph things front-on with as little direction or intervention as possible," she has said. "It's about stripping everything right back, in a Beckett-like way. If you strip language as far back as you can, strangely, there's often more of it. I want to reveal the workings or truth of something, and that's the starting point."

Sarah Jones was born in 1959 in London. She currently lives and works in London.