The drawings are created through a process of drawing and erasure – the former representing the planned, cognitive part of the process and the latter that left to chance. Most importantly, this process draws attention to the surface of the picture which is characterised by vertical lines – the sanding process is purely mechanical and does not bow to the niceties or otherwise of the image. A battle for dominance is enacted, a push and pull between the material needs of the process and the unfolding narrative.
In the heavily worked black areas, details come in and out of focus but essentially add up to a scene to which we can relate. A dramatic happening, wrought through the exposed areas of the white paper, disrupts any slight suggestion of normality. These ambiguous, hallucinatory events are hybrids of the man-made and natural – some resemble comets, others space craft, or moths.
From ‘River, Trees, Cloud, Sky. by Kate MacFarlane. ‘Nowhere is Here’ exhibition catalogue, 2008.
Education
Royal Academy Schools 1999 – 2002
Loughborough School of Art & Design 1996-1999
past tutors include, Colin Smith, Vanessa Jackson, Norman Bryson, Richard Kirwan.
Selected Exhibitions
February 2008. Fatal Attempts At Re-Entry. Joe LaPlaca & Dickenson Fine Art. London.
June 2006. Mollie Dent-Brockelhurst & Joe LaPlaca Present - Reece Jones. London.
October 2005. Reece Jones. Andrew Mummery Gallery. London.
July 10 – August 8 2004. Protect & Survive. Rockwell. London.March – May 2008. Nowhere Is Here. Aspex Gallery, Portsmouth & The Drawing Room, London.
March 2007. The Whiteness of the Whale. Transition Gallery, London
December 2005. Maji Yabai! (Fuckin' Brilliant!). Tokyo Wonder Site. Tokyo.
October 2005. NLK II. Wooster Projects. New York.
Publications
Night – A Time Between. Exhibition Catalogue. Royal West of England Academy, Bristol, 2008.
Nowhere Is Here. Exhibition Catalogue. Drawing Room, London. 2008.
In The Studio – Reece Jones. Time Out London, Feb 2008. Helen Sumpter.
Reece Jones Protect and Survive. Review – Time Out London, 2004. Sarah Kent.

