Anthony Jones
Profile
IRREGULAR HEXAGON IN PERSPECTIVE
From the Piero Series of paintings. Oil on canvas. 60cm x 60cm
THE BLUE ROW
Based on a page from della Francesca's Treatises on Perspective.
THE HEX DIPTYCH 2
FLAGELLATION
Piero della Francesca used 3 light sources in his painting The Flagellation of Christ The work is well known and its perspective rigour has been studied many times. My hommage to this work references the 3 different light planes.
THE HEX DIPTYCH 1:
Oil on canvas
30cm x 21cm each piece.
FIBONACCI AND NUMBERS
From the Australian Maths Art Project.
120cm x 100cm. Oil on canvas.
THE GOLDEN SECTION AND EUCLID
From the Australian Maths Art Project.
Oil on canvas. 120cm x 100cm.
DECREASE AND INCREASE
From the Australian Maths Art Project
Oil on canvas. 120cm x 100cm
STATEMENT:
My artistic philosophy is that the Creative Process is essential to my personal well-being and this makes me an artist whose ‘way of seeing’ or ‘use of drawing’ is consistent but at the same time can vary substantially.
I am certainly inspired by concepts of beauty, it is not triggered by any political or social issues.
Usually working in ‘Series’, my arts practice is underpinned by an ever-increasing knowledge of Contemporary Art and Art History, being intrigued in drawing parallels between movements from the long past with what’s going on today.
The ‘style’ I employ is usually determined by the issues under investigation or the influences I am responding to.
The idea or concept – whatever this may be, together with formal qualities: colour, line, texture, paint handling and drawing are of substantial importance to me.
CV:
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Issues investigated via my Arts Practice.
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The Maths Art Project : International Commission 2009/10
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An international project, investigating connections between art, its history and the worlds of mathematics and economics, delivered 4 finished paintings to Australia and undertook 4 week residency in Sydney, creating 2 major paintings and over 20 gouache works.
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Blue : a disguised narrative and a silent seducer.
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A continuation in theoretical and studio practice began in 1997 as my B.A. dissertation, of the history of the colour Blue in Art, specifically Ultramarine.
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Notions of Silence and Solitude. Interior Still-Life paintings.
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Investigating notions of silence and solitude, the supposed ‘quietness’ of a still-life in a room after its people have left. Utilising and adhering to formal disciplines laid down during the Renaissance, their re-emergence via the Pre-Raphaelites and Victorian realism.
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Questioning the role of technology in the creative procesS.
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Creating abstract drawings via Microsoft Word tools, as original artworks, then using traditional ‘squaring up’ techniques to transfer designs onto canvas.
Commission from Wrexham Arts centre to create the large mural ‘Brontosaurus Boogie Woogie’.
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