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ken jones
Ken lives at Stalling Busk, near Leyburn, North Yorkshire. He studied at the Rotherham School of Art from 1955-58 and at Leeds College of Art from 1958-60.
His work has been exhibited widely including at the Mall Galleries in London, the Mercer Gallery in Harrogate, Gillis Browne Gallery, Harrogate, Sir John Cass Gallery, London, Cupola Gallery in Sheffield, Adze Gallery in York, Darlington City Art Gallery, Atticus Arts in Bath, the Cube Gallery in Bristol and the Folly in Settle and at the Swaledale Festival. His work is held in many private and corporate collections both nationally in internationally.
Abstract in execution, the paintings are primarily about the materials used and the process of using them. Poetry, early music, jazz, mythology and landscape, icons and ritual objects frequently provide a focus for the initial composition and occasionally as reference as the paintings evolve. Ideas develop and decisions made are constantly revised as the work progresses. Textures, scumbles, marks and scratches, describing relatively simple universal forms, often with low key earth colours, illuminated with areas of white and/or small accents of primary colours affirm a conceptual rather than a narrative or illustrative depiction of experience. Drawings, notes, photographs and memory (visual and otherwise), may also inform the process. Ken believes art is about itself, the motivation to begin and the physical and thought processes that bring it into being. It is also an inquiry into possibilities. He does not have a specific end in mind when he begins to work. Painting has to be flexible and open-ended enough to allow for alternative approaches. The end point comes at the moment of recognition when the varying elements have been brought together and resolved. The work is abstract, which was a conscious decision to move away from the distractions of narrative interpretations. He uses simple forms, a limited palette and various materials including vitreous enamels.
"The paintings are to be experienced rather than understood. They do not represent a concealed intention. They are an affirmation of my memories and experience. They are about themselves. They are an invitation to contemplation and interpretation relative to the viewer’s own remembered experiences.”
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