Developed as part of a Daiwa Foundation Small Grant Award, ‘In-Between’ is a body of print assemblages that combine traditional and digital printmaking processes as a means to present visual models for the perception of shifting temporal change. In doing so, the work grapples with the notion, articulated by Gilles Deleuze, of the present as a temporal multiplicity in continuous flux.

The project asks whether print processes (which enable image reproduction) and collage processes (which offer a framework of varying permutations) might offer appropriate technical means to model the ambiguities and inconsistencies of our perception of passing time.

Technical inquiry including visits to museum print collections, Japanese printmakers and paper producers, was complemented by site visits to the inner and outer shrines at Ise Jingu1, Japan, to gather source material and on-going practical exploration in the studio.

Applying hybrid print and collage procedures to imagery sourced at Ise Jingu, Jones produced a body of resolved works in three series:

1. In-Between: Fragments of exterior and interior imagery, and images of the organic and the man-made, were brought together to offer fluctuating readings. This was mirrored in shifts of technical process whereby, for example, a motif produced by woodblock would be physically inserted into a digital print.
2. After Sebald: Source imagery was first digitally manipulated to suggest motion and then printed by ink jet printer onto a range of papers. Traditional and digital methods were then used to print imagery of a more static character. Fragments of these two sets of material were then physically integrated.
3. Between the Hour & the Age: hugely magnified digital images of natural regeneration were set against miniaturised images of deconstructed architecture, and swatches of pure colour. In this series large-scale ink-jet printing, and tiny fragments of chin-collé and silkscreen were combined.

Engaging with emerging technical print innovations, in which centuries-old traditional methods come into a relationship with digital print media, ‘In-Between’ was exhibited at the Japan House Gallery, Daiwa Foundation, London (10th September – 9th October 2008). This included a public lecture and discussion introduced by Prof John Milner (Courtauld Institute) and chaired by Prof Marie Conte-Helm (Director, Daiwa Foundation). The project publication, published by Northern Print, is available in an artist-produced, limited edition of 100, printed on Bockingford papers using original digital files.

A downloadable pdf edition is available from: In-Between

1 A revered Shito shrine in Japan which every twenty years is de-constructed and rebuilt using traditional materials and processes to 'reproduce' the preceding architecture. Ise Jingu provided a model of temporal flux as well as a reference point for other aspects of the project, namely notions of tradition and reproducibility.

Developing an assemblage process predicated on a direct relationship to site, and within set parameters of small scale, found material and simple forms of photography, in ‘Unmonumental’ Jones "makes diminutive structures that propose alternatives to the size and weight of traditional monuments" (Professor Chris Dorsett).

The project was developed in stages structured around three intensive artist's residencies, each attached to a highly particular location:

1) During a four-week residency at Bundanon, situated close to the banks of the Shoalhaven River in New South Wales, Australia (October 2011), Jones' made a body of speculative assemblages combining on-site photography with small-scale found objects to explore the potential of the understated amidst what Arthur Boyd, Bundanon's founder, described as “the uniqueness of the Australian landscape and its metaphysical and mythical content”. 

_{Bundanon Monochrome: Vortex, 2011}

2) At Studio Kura, in the rural area of Fukuoka Prefecture on Kyushu, Japan (July 2012) processes developed at Bundanon were applied to the development of an installation for a 100-year-old rice grain store (or kura) set in the rural surroundings of Itoshima. The installation comprised 18 assemblages, formed from on-site photographs and object collections, positioned on walls at various heights, on ledges and set on three utilitarian pieces of furniture abandoned in the space – a rustic bench, table and workbench. 

_{For the Silo (Fukuoka), 2013}

In October 2013 Jones' undertook a residency within the urban setting of the regenerated city-centre area of the Papirbredden knowledge and cultural park, in Drammen, Norway. Here the principles of site-dependent assemblage were applied to the development of an installation for the city's heritage-listed paper silo or ‘siloen’. Assemblages combining objects found on site with photographs of the silo itself were installed in its interior – a brick built, cylindrical tower-like space approximately 12m in height.

_{For the Silo 2 (Drammen), 2013}

Jones presented work arising from the project in a series of public open studios, workshops, artist's talks and installation exhibitions in Australia, Japan, Norway and the UK. A book, 'Unmonumental', published by Northern Print, includes project documentation alongside essays by Chris Dorsett (Professor of Fine Art at Northumbria University) and Finnish artist Meri Nikula which address the work's relation to site, monumentality and to the notion of mobility as a creative condition.

Emerging from recent work are a number of interests that form the basis of Jones' plans for an on-going painting practice: disjuncture of scale, understatement and temporary displacement amongst others.

_{For the Silo, 2013}