‘Big Questions’ for ‘I’ll Call you’. Art Swap featuring Sal Jones

Art Swap, Colour, Galleries, Relationships

For the first time in four years of blogging I have lost a post I started. Must mean I didn’t save it which is odd because it usually does it automatically, doesn’t it? But even if it doesn’t I can’t believe I closed it without a reminder for me to save it, or that I even forgot to click the save draft button. Must have been the pre-cursor to the way I felt last night and this morning, not good. So I have had time to write today  from my bedroom, feeling a little under the weather but happy that the sun is starting to shine and it is teasing us with spring. The view from my window a painting in itself. But I digress….

All of this has nothing to do with what I want to write about today which is our first successful art swap. We successfully exchanged ‘The Big Question’:

The big question

‘The Big Question’

with ‘I’ll Call you’ by artist Sal Jones .

So today I am going to write a little bit about her work. It is interesting to see the links and comparisons between painting and sculpture and of course the obvious differences.

I'll Call you by Sal Jones, Oil on canvas

I’ll Call you by Sal Jones, Oil on canvas

Sal Jones focuses on exploring colour and form expressively, aiming to engage the viewer with visually exciting work. Many of her paintings use bold and vibrant colours as my husband’s sculpture usually does. However, The Big Question, above is simple monochrome. I think you can tell when as artist is thinking about the way a viewer might interact with their finished work. It gives a more complete piece of work somehow.

The heightened use of colour adds emotional and expressive dynamic to the work. Many of her pieces have a vivacious quality to them. This one a little more muted, with moody blue tones adds to the story and the suggestion of a dark tunnel ahead.  For me having had a little experience in painting I love the gestural brush marks and the layers of colours. I also am fascinated by the way the suggestive marks give rise to the folds and forms of the fabric. So the light and dark make this piece.

Here is the painting hanging in our hallway, like it was painted to be there. The first things I see when I come out of my room.


‘I’ll Call you’ by Sal Jones

As the figure is walking away you can almost put yourself in the painting. “By taking an isolated image out of context and using the dialogue as the images title – I’m hoping to create a friction or ambiguity in the reading of the image interpreted in different ways by different viewers depending on their personality and viewpoints and what they bring to their understanding of the subject”. I really appreciate this factor.

Interpretation is everything and an important part of my husband’s work too. Much of Sal Jones’ work features portraits which although I like and she describes more as ‘character studies’, in our small terrace house I don’t think hanging the face of someone would really work. Where as this piece has an abstraction to it because the figure can be anyone, I also like that it is a full figure as many of my husband’s pieces are the female form so there is lovely link there.

Indeed, both the sculpture and the painting tell a story. Like a pictorial book we are invited to create our own words for the images we see. Jones herself states that she is “interested in capturing moments of expression that portray the human psyche, of blurring the boundary between fact and fiction; also in the relationship between the title and image.” Titles are everything, as I said in my last entry about my husband’s laconic titles very different from some of the long-winded titles of many modern minimalist pieces. Sal Jones’ titles are the stories themselves, inspirational points for an aspiring writer.

So we are privileged to have a unique and precious painting on our landing and if you want to see her work you can do from next week at Espacio Gallery . Click the link to another blog entry about the gallery, as my husband has also exhibited there.

Sal Jones exhibits in:

Y Not?
31 March – 5 April 2015
Private View: Thursday 2 April 6-9pm
An exhibition in aid of International Women’s Day.



Very exciting to read a first review following a successful first northern solo exhibition. So interesting to read someone else writing about the work. So happy the pieces were understood and the concept achieved its aim. Let’s hope it is the start of many. Find the link below and words from it underneath



Review: Souls by Sam Shendi

Sam Shendi, whose current show Souls is residing at the FYC gallery as part of the Venn Projects curatorial steering, is a mass of contradictions. The contradictory aspect of the show is in fact is a key to its success.

The bright and, at first viewing, superficial work is in fact full of depth and the directness of the primary colours have a resonance beyond their initial impact. A series of compacted metal may be a mundane media yet it has an allure beyond its material.

The award winning sculptor, Shendi, creates in Souls a series of oblong sculptures from crushed metal which are then painted vivid eye-blasting colours. It’s a very attractive series of work on a purely visual level, but it is when one spends a little time with the sculptures that the real strength of the works surface.

Within the formal setting of the FYC’s white cube gallery space Shendi’s works offer a reflective experience that once entered into allows the inner tales of the sculptures to speak. The harsh lines and jagged metal cube-like shapes start to morph into forms within the folds of the work. Light which shines off the hard gloss finish alter the sculptures into masses of faces; the first thing the human mind tries to form from any unresolved shapes. It’s an arresting experience to see these faces appear. Our brains fill in the gaps and create these ‘souls’ that the show seeks to explore.

The use of colour is very particular in the work, as primal responses to the garish tones augment our experience. With the meditative approach that Shendi hopes we will use to view the work, comes an inner interaction as we are drawn to the ever-shifting forms.

We are almost as important as the work with our part of the viewing. This is true of course of most art, the viewer gets as much as they put into the work, but Shendi’s work has an immediacy that almost drags the eye into and around the pieces.

It’s an assured collection of work that speaks of the confidence of both the artist’s message and his faith in his work. It is this confidence which gives you an innate understanding of your place in the exchange of viewer and object/art. You will almost automatically take your time to view and interact with the work. It’s a must see and a great success for the FYC.

Souls is on at the FYC Gallery on Church Street until 6 June.