PASSIVE POLITICAL / 19/01/12 – 17/02/12
ROSS JONES
IN THE PRESENCE OF WILLIAM HOGARTH
Exhibition runs: 19th January to 17th February 2012
Location: 36 South Molton Lane, Mayfair, London W1K 5AB
Left: Ross Jones, Crystal, 2011, Pencil on board, 60 x 40cm
Right: William Hogarth, Gin Lane (detail), 1751, © Southwark Art Collection, London Borough of Southwark
Ross Jones is a political artist, but not in the traditional sense. Political and social commentary in British art are epitomised by the 18th century artist William Hogarth, whose familiar etchings are both passionate portrayals and biased commentaries. In this exhibition, drawings by Ross Jones will be displayed alongside original works by Hogarth. While both artists bring socio-political issues to the fore, Jones’ imagery, aims and composition are quite different. If Hogarth is the father of political arts commentary in Britain, then Jones is the disobedient son.
Hogarth’s “Gin Lane” depicts an active scene filled with bodies, and booze. The lazy madness of the street presents Hogarth’s negative vision of cheap and readily available gin in the hands of London’s poorer community. This visceral tableau of emaciated bodies, brawls and a baby, dropped head-first by its own inebriated mother, incite an immediate anti-gin response and compel us to the artist’s point of view.
”Crystal”, by Ross Jones, lays out the ingredients used to make the drug crystal meth as a still life composition. From cough medicine to battery acid the collection is laid out without comment, but it is plain to see that the materials in the drawing are inexpensive, easily available and dangerous, as gin was in the 18th century. However the work does not specifically lead the viewer to this, or any other conclusion. It simply demands consideration. Like Hogarth, Jones is reactionary; the work is founded on his opinion and it carries a similar urgency – and yet it differs. Against a noisy backdrop of news reports, political speeches and protests; Jones’ work is resolutely founded on his belief that each person must form their own opinions.
Composition plays an important role in fulfilling the aims of Jones' work. Both artists employ monochromatic detail, but while Hogarth uses an arsenal of immediately emotive imagery to achieve his ends Jones has different techniques. Where Hogarth fills each composition, Jones places a concentration of highly detailed drawings in space. The contrast achieved draws the viewer to a work like “Crystal” in place of “Gin Lane” and its manipulative gore or the sensationalism of a news report. Laid out in fractal patterns Jones’ works are visually compelling yet clear, sometimes using repetition, and always depopulated to enhance their focus. Each drawing by Ross Jones stands as an icon for an issue, giving the viewer the impetus to consider it whilst allowing them the space to do so.
Another work by Jones presents a repeating pattern of symbolic human dwellings, with seemingly tribal structures at the periphery drawn in towards increasingly westernised houses. The political ethos of this work is ignited by its title “Integration”, opening a dialogue that spans from the dangers of ethnic tensions through the benefits of cultural cohesion to the damaging effects of homogenisation. While drawn from contemporary culture by Jones, the issue at the heart of this debate spans the history of civilisation.
In “Noon”, from the “Four Times of the Day” series, Hogarth impresses his own position on cultural integration in the 18th century. The etching presents his stance on the mixing of French Huguenots and freed black slaves in English society. Hogarth portrays the French as absurdly vain, mocking their fashion and false airs as they parade through the slum past the rotting corpse of a cat. To the left Hogarth depicts a freed slave in the 18th century convention of lustful abandon and wild savagery. He deliberately comments on the true nature of civilisation and questions whether the ostentatious narcissism of the aristocratic French is savage or civilised.
William Hogarth’s etchings have created an avenue for politicised arts discussion today, with many cartoonists, satirists and contemporary artists in some way indebted to him. Ross Jones follows in this tradition of political commentary yet where Hogarth sought to persuade the viewer of his opinion, Jones entices us to do as he bids and think for ourselves.
Ross Jones' solo exhibitions include New Works, William Angel Gallery, London (2009). Groups shows include Modern Frustrations, Sumarria Lunn Gallery, London (2011), Marine Contemporary, Los Angeles (2011), Not Quite A Baker’s Dozen, HRL Contemporary at LSE, London (2011), Korea International Art Fair, Seoul (2010), London Art Fair, London (2010), In A Word, Sumarria Lunn Gallery, London (2009), Matt Roberts Arts, VINEspace, London (2008), Jerwood Drawing Prize, Jerwood Space, London (2007) and the Celeste Art Prize, The Old Truman Brewery, London (2006). The artist is recipient of the Proof Award (2008) and his work is held in a number of private and public collections including Fidelity and the Herbert Museum.
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Exhibition runs: 19th January to 17th February / 11am - 6pm (Tue to Fri) / 12 - 5pm (Sat)
Sumarria Lunn Gallery, 36 South Molton Lane, Mayfair, London W1K 5AB