Reece Jones graduated from the Royal Academy Schools in 2002 going on to set up the Rockwell Project Space in Hackney, London. His work has been shown extensively worldwide and is featured in many significant collections. His curatorial activities include The Hair Of The Dog at Block 336 in Brixton and Terminalia at Charlie Smith London. He recently produced text for Jonathan Wateridge’s monograph Hinterland and the essay for Lisa Wilken’s catalogue The Shadow Of An Unseen Power. He has chaired many artist interviews and panel discussions and is a current trustee of artist led project space Block 336.
Reece Jones’s practice is process led challenging some of the potential preconceptions of what we mean by ‘drawing’ and what certain materials are traditionally encouraged to do. He is also interested in narrative and in belief structures. The drawings are generally cinematic or mechanical in appearance, having the pretence of being from a filmic or photographic source. Often he will invent images, culling from a broad archive of source material and developing rangy, fantastical imagery. His most recent work is loosely based on forensic ‘evidence’, which is believed to prove the existence of Bigfoot. He’s essentially interested in using fragile, shifting materials to reference intangible, uncertain spaces, objects and ideas. Recurrent themes in his work include reference to the sublime and to the American Wilderness, modernism, land art, archaeology, cinema, mythology and spectacle, photography, drawing and time. His studio practice is labour intensive and requires a constant reconsideration of the implications of skill and craft. Sometimes the outcome is dreamlike and beautiful, sometimes downright awkward.