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All paintings are for sale unless otherwise stated. Please e-mail for prices
Autumn Oak / Derwen Hydref
date: 2024medium: oil
size: 35 ½" x 27 ½"
notes: This depiction of the threatened (by a relief road development) Darwin Oak is perfectly captured on an autumn day. As added texture and context the artist has collaged oak leaves in to the recess of the frame.
comment: ”Any tree that gets to 550 years old should be treasured and left. Perhaps the Brehon Laws should be adopted when dealing with trees”.
Autumn Oak / Derwen Hydref
Felix Meats Mickey
date: 2021medium: oil on canvas
size: 23¼” x 33½"
notes: This whimsical piece explores Brian's dark humour in a Pop Art tradition.
comment: "I love Felix, much better than that pesky mouse. My money would be on the cat."
Felix Meats Mickey
Portrait of the Artist as a Black Dog
date: 2021medium: oils
size: 39" x 31½"
notes: Addressing the subject of depression through the medium of oil paint.
comment: " I dreamt about a black dog - didn't quite look like this one (another painting perhaps) but it bit my lip to stop me speaking."
Portrait of the Artist as a Black Dog
From a Pig to a Pig.....
notes: A small painting created for the front cover of Brian’s Limited Edition booklet, “From a Pig to a Pig From the Pig in the Middle”.
comment: ”I’ve started doing booklets again; it needed a cover so I provided one”.
From a Pig to a Pig.....
Pop Goes The Anomalies
date: 2024medium: acrylic on board
size: 18" x 14"
notes: A PoP treatment of the magnetic anomalies of the Lleyn Penninsula. Originally intended to be part of the Wales Coast Path 10th Anniversary shows, this piece was completed this year.
comment " I ran out of time for my Plas Gwyn y Weddw show but I had to finish it anyway".
Pop Goes The Anomalies
Traeth Criccieth
date: 2022medium: acrylic on canvas
size: 24" x 18"
notes: Another of Brian's psychedelic Pop landscapes painted for the Wales Coast Path exhibitions at Plas Glyn y Weddw, Ucheldre (Holyhead) and the Norwegian Church (Cardiff), this work shows a distant view of castell Criccieth castle".
comment: "My favourite places tend to be on the north coast of the peninsula but I couldn't cover the south without visiting Criccieth".
Traeth Criccieth
Traeth Penllech
date: 2022medium: acrylic on canvas
size: 24" x 18"
notes: A painting of Penllech beach on the north coast of Pen Lleyn with ice cream clouds in this Pop landscape. Another in the series of works that the artist produced for the Wales Coast Path 10th anniversary shows.
comment: "Definitely a numinous place on the planet".
Traeth Penllech
Never Mind the Bullocks
date: 2022 medium: acrylic on boardsize: 16" x 12"
notes: Another work in a series for the Wales Coast Path 10th Anniversary exhibitions playfully re-working Sex Pistols' album into the title of the painting.
comment: "On the north coast of the Lleyn Peninsula the cows are literally on the coast".
Never Mind the Bullocks
(Dis) UK
date : 2007size : 33½” x 23¼”
medium : oil
notes : In this work, Jones has separated the four home countries of the United Kingdom, representing each nation within the quadrants. Painted on four separate canvases, this piece is only signed once in the lower right canton.
comment : “The title ‘(Dis)UK’ was a song released by Hen Wlad Fy Mamau / Land Of My Mothers; a comment on the state of the union in the first decade of the new century. I'm not a nationalist in any way, nor do I have a flag. Perhaps one day, I will paint my own.
(Dis) UK
(Re) UK
date : 2007size : 33½” x 23¼”
medium : oil
notes : There has been much talk of the dis-integration of the United Kingdom with the introduction of the Scottish parliament and the Welsh assembly. The fact that Wales is not represented on the Union Jack is addressed in this painting by Brian Jones.
comment : “If Y Ddraig Goch / The Red Dragon (of Wales) was added to the existing Union Jack, it would look mad and pose major problems for the College of Heralds. My version (as far as I can ascertain) is heraldically correct. To the English, Wales is not a country, but a principality, which is why it is not on the Union Jack; try telling that to a Welshman after a rugby Grand Slam!”
(Re) UK
Scotlessland
date : 2012size : 33½” x 23¼”
medium : oil
notes : Another in the artist's on-going series, which de-construct and re-construct the Union flag.
comment : “It's interesting to think about the possible adaptations and re-workings of the British flag”.
Scotlessland
Untied Kingdom
date : 2012size : 33½” x 23¼”
medium : oil
notes : Here, the Union Jack is devoid of all but the English flag of St. George.
comment : “This piece could also have been titled ‘the ghost of kingdoms past’ ”.
Untied Kingdom
ConDem Nation (SOLD)
date : 2010size : 31½” x 23¼”
medium : oil
notes : Sold before it left the studio, ‘ConDem Nation’ forms part of Jones' on-going exploration of the Union Jack as motif.
comment : “Cut everything and there's nothing left.”
ConDem Nation (SOLD)
United States of Britain (SOLD)
date : 2008size : 33½” x 23¼”
medium : oil & acrylic
notes : ‘The United States of Britain’ (or ‘USB’ for short) is another in the on-going flags series. This work sees the artist replace the white of the union jack, with its heraldic alternative of silver.
comment : “Flags and their histories are interesting points of departure when looking at questions of ‘identity’. The state of the union; the union of the state.”
United States of Britain (SOLD)
Glass Union 1606
date : 2010size : 33½” x 23¼”
medium : oil
notes : Another in the artist's on-going exploration of the Union flag, its history and development, making it historical contemporary Pop Art.
comment : “This first Union flag appeared in 1606, and it remained a ‘glass union’' up to the Jacobite Rebellion of 1745. As a kid, I used to pass a union building on my way to school, and until I knew better, I read the sign as ‘onion’; a bit of a word-play on ‘Glass Onion’ and ‘union’.”
Glass Union 1606
Twisted Jack (NFS)
date : 2007size : 33½” x 23¼”
medium : oil
notes : In this particularly strong and striking image, Jones super-imposed (by drawing) the classic ‘Mod’ target on to the British flag, then ‘twisted’ it on its central axis both rotationally and counter-rotationally to the inner and outer ‘rings’ respectively.
This painting was a key image in Brian's 2008 ‘Brighton Rocks’ solo show at O Contemporary, where it also featured as the label on special Brian Jones sticks of rock which were produced for the exhibition.
comment : “The Union Jack with a twist!.”
Twisted Jack (NFS)
Union Jackboot (What If?)
date : 2007size : 33½” x 23¼”
medium : oil
notes : This painting takes the union flag into hypothetical territory, employing the colours of the despised Nazi party (as opposed to the colours of the Deutsch flag) to pose this question : “Who put the boot in jack?”. 'What If?' indeed.
comment : “When looking into the history of the union jack (and that of flags in general), it is often key points in the history of nations which determine their respective national flags.”
Union Jackboot (What If?)
Union Jah
date : 2007
size : 33½” x 23¼”
medium : oil
notes : In this counter-balance to ‘Union Jackboot (What If?)’ word-play shows the humour in Jones' works, as he continues to question the notion of ‘Britishness’ in the 21st century.
comment : “I could spend the next ten years just painting flags, but I won't …”
Union Jah
RWB (SOLD)
date : 2006size : 33” x 23¼”
medium : acrylic and collage.
notes : Third in the series of union jack paintings, this work incorporates elements of collage into the background composition.
comment : “This piece gets to the nitty gritty; there are some good things about living in Britain, but there are also some nasty horrible things too; I've put both into the background collage. One of these elements disgusted me so that I changed its negative message into a positive one before I used it.”
( SOLD )
RWB (SOLD)
Albion (SOLD)
date : 2006size : 33” x 23¼”
medium : oil.
notes : A white union jack devoid of most colour, this work is part of a series of three paintings that look at aspects of British life, which use the flag of Great Britain as their point of departure. Another of the works which question what it is to be British in the twenty-first century, with its title deriving from the literary works of William Blake.
comment : “Stripping-away the colour from the flag interests me as it presents new opportunities to interpret such a familiar emblem.”
( SOLD )
Albion (SOLD)
I'm All Black And White Jack (SOLD)
date : 2007size : 33” x 23½”
medium : oil on canvas.
notes : Fourth in the ‘Union Jack’ series of works, this painting employs Jones' favoured impasto technique, and is part of his on-going exploration of the national flag and his questioning of the notion of ‘Britishness’. comment : “I find it endlessly fascinating how national flags are designed and perceived as emblems. I understand their construction, which tickles my urge to de-construct and re-construct.”
( SOLD )
I'm All Black And White Jack (SOLD)
Little Arrows
date : 2007size : 40” x 40”
medium : oil
notes : This work takes a square Union Jack painted on to four separate canvases, and re-arranges them into a rhombus which abstracts the union flag.
comment : “I'd been thinking about the Red Arrows (RAF display team) and how their name related to the flag; the title comes from a song by Leapy Lee.”
Little Arrows
1st Stars n Stripes
date : 2010size : 30½” x 23¼”
medium : oil
notes : Another of Brian Jones' exploration of the development and uses of the British ‘Union Jack’, sees him paint the first version of the Stars and Stripes, which appeared in 1777, when a complete severance with Britain had been decided upon.
comment : “After Independence, the British Union Flag was removed from the upper canton, and replaced with a circle of 13 stars, which were arranged in such a way so that none appeared to have more importance than others.”
1st Stars n Stripes
Cambridge MA
date : 2010size : 30½” x 23¼”
medium : oil
notes : AKA ‘The Great Union Flag’, the ‘Congress Flag’ and the ‘Cambridge Flag’, this flag was raised in 1776 by general George Washington, as the banner to rally American patriots in their struggle for independence from Britain.
comment : “I read somewhere that at the Boston Tea Party (1773), one of these flags was taken from an East India Company ship. The above flag was identical to that of the aforementioned flag, which the company had been using since 1707. It's interesting to know that during the American war of independence, both sides were flying flags incorporating the first British Union flag.”
Cambridge MA
The Untied States of America
date : 2008size : 38” x 28”
medium : oil on canvas and collage on wood
notes : In this painting, Jones takes the Stars and Stripes as his point of departure, banishing the fifty stars of the union to the outer edge of the compostion.
comment : “I did a version of this in the early '90s, but it got damaged so I re-created it; this is a much better piece than the original.”
The Untied States of America
American Blues
date : 2011size : 31½” x 23¼”
medium : oil
notes : Another in the artist's on-going ‘Great American Flag’ series, sees Jones turn his attentions stateside once more.
comment : “I didn't listen to anything except for Blues throughout the production of this painting. From Robert Johnson and Bessie Smith, right through to Howlin' Wolf and John Lee Hooker. A great excuse for a Blues-out.”
SOLD
American Blues
Paint It Black
date : 2010size : 30½” x 23¼”
medium : oil
notes : Painted during summer 2010, and taking its cue from the song of the same title, Jones turns his hand once more to the Stars and Stripes. Part of his on-going ‘Great American Flag’ series of works, this impastoed study is rich in texture.
comment : “Henry Ford, Rolling Stones, Barak Obama…paint it black.”
Paint It Black
Blackwhited States of America
date : 2010size : 30½” x 23¼”
medium : oil
notes : A bold 21st century interpretation of the US flag, which forms part of Brian's ‘Great American Flag’ series.
comment : “Flags, their development, and their cultural resonances are of great interest to me; in one part of the world, an image can be perceived as representing cultural colonialism, whilst in another, the same image can be perceived as a symbol of hope and freedom.”
Blackwhited States of America
Paint It White
date : 2010size : 30½” x 23¼”
medium : oil
notes : Second in the on-going ‘Great American Flag’ series; a white-on-white study of the Stars and Stripes, with the impastoed surface suggesting the form of the flag.
comment : “Without getting too philosophical, as soon as something is created, its opposite also comes into existence.”
Paint It White
Twister Jack
date : 2007size : 33½” x 23¼”
medium : oil
notes : An irreverent take on the Union Jack from Jones' growing flag series.
comment : “It would make a good mat to play Twister on.”
Twister Jack
A Lone
date : 2007size : 20” x 20”
medium : oil
notes : Word play forms the basis for this Pop Art painting with a political undertone.
comment : “Following-on from the 'Untied States…' I chose to do this one as America does stand alone. The Lone Star state is running out of Texas tea, hence the current ‘Oil Wars’.”
A Lone
US Foreign Policy
date : 2006medium : acrylic on found object.
notes : A stunning piece of political Pop Art, Jones turns his hand once again to a found object, capturing the zeitgeist in this stylised work.
comment : “It's all hand-painted - could have done a slick spray job, but it would have looked like the latest retro-range of dust suckers. This is a painting, complete with brush strokes”.
US Foreign Policy
Walk Quietly Through Life But Always Carry A Big Stick (SOLD)
date : 2003size : 35” long
medium : acrylic on baseball bat.
notes : One of several ‘sculptural’ objects produced by Jones on occasion. This piece showed as part of the ‘iCons’ show, and also featured in the ‘Pax Britannica: A Hellish Peace’ anti-war exhibition, in London, alongside two other Jones works, plus those of Richard Hamilton, Banksy, Jamie Reid, Sir Anthony Caro, and others.
comment : “I think it was an FD Roosevelt quote, though I’ve probably mis-quoted him – a sadly pertinent piece.”
( SOLD )
Walk Quietly Through Life But Always Carry A Big Stick (SOLD)
The Leaves That Hung but Never Grew
date : 2010size : 16½” x 11½”
medium : oil
notes : An unusual work based on an old Gypsy story told in mid-Wales.
comment : “There's a book titled ‘Dark Tales of the Woods’, which contains the oral stories of Abram Woods, of the famous Woods tribe. When I read ‘The Leaves...’ story, the painting was fully described.”
The Leaves That Hung but Never Grew
Bird Is Free
date : 2009size : 30½” x 23¼”
medium : oil
notes : A semi-abstract composition painted in honour of Charlie Parker, which shows the artist's more contemplative side.
comment : “With this piece, I simply wanted to paint using brushes and nothing else; the joy of moving paint on the surface with long deliberate strokes to give texture was the raison d'etre for the work. It also gave me good reason to immerse myself in the music of ‘(Yard)Bird’ again.”
Bird Is Free
Reclining Nude
date : 2008size : 33½” x 23½”
medium : oil
notes : First in the series of semi-abstract nude paintings by the artist; these are based on drawings and photographs of the figure, and mix brushwork with impasto.
comment : “I find that the shapes made by the human form are an endless source of interest; I was taught to ‘paint what I see’ not ‘what I know to be there’. I like the distortions and ‘false’ perspectives gained from studying lounging figures.”
Reclining Nude
Blue Nude
date : 2008size : 33½” x 23¼”
medium : oil
notes : Second in the series of semi-abstract nude paintings, this work sees Jones capture a fore-shortened figure in a subtle palette and bold lines.
comment : “This is a side to my work which is very rarely seen; most of the nude paintings and studies that I did up to 2000, were actually destroyed (by me) in 2001, so that I could begin afresh.”
Blue Nude
Read it in Books
date : 2008size : 33½” x 23¼”
medium : oil & collage
notes : Third in his series of recent semi-abstract nudes, this work combines oil and a collage element within the composition.
comment : “The title came from Echo & the Bunnymen's debut single; an abstracted figure reading from the pages of a collaged ‘book’. Beards ago, I was removed from life-drawing class as I did some works which collaged bits of porn mags onto paper; these became the starting points for my life-drawings.”
Read it in Books
Nice Swan (NFS)
date : 2006size : 33” x 23½”
medium : oil and collage.
notes : First in the series of oil paintings produced by Jones during the Summer of 2006, ‘Nice Swan’ also uses an element of collage within the design. The strike-strip is actually coarse-grained sand from Pwllheli beach.
comment : “I like small things that can go big, and big things that can go small; I blew-up the matchbox design, drew it (no projectors here!), painted it, then reduced it back to matchbox sized for the Brighton show goody bags”.
Nice Swan (NFS)
West by Sou'wester (NFS)
date : 2006size : 33” x 23½”
medium : oil.
notes : Third in the ongoing series of matchboxes, this one features the old Pilot matchbox design in this wittily titled piece. 2007 will see the first three published as Limited Edition prints.
comment : “I remember seeing these as a kid. Looking back now, some of these boxes are miniature pieces of art and design; classics of their type”.
West by Sou'wester (NFS)
England's Dreaming (NFS)
date : 2006size : 33” x 23½”
medium : oil.
notes : Second in the series of matchbox paintings, here Jones uses his painting skills to good effect, reproducing his version of the England's Glory design in oil paint. Another classic piece of Pop Art from the growing Jones repetoire.
comment : “Title was inspired by Jon Savage's excellent book by the same title. I think that Peter Blake did a version of the old design in the early 1960s, which was a more primitive version, and not full colour. I took four days to draw this, and over a month to actually paint it”.
England's Dreaming (NFS)
Never Trust a Punc(h)
date : 2007size : 31½” x 23¼”
medium : oil
notes : Another in his ‘Gorra light mate?’ series of oil paintings sees Jones re-interpret the classic Punch matchbox design.
comment : “I'm endlessly fascinated by design on ephemera and how it resonates with both the past and the present.”
Never Trust a Punc(h)
Gorra Light Mac (NFS)
date : 2007size : 33½” x 23¼”
medium : oil
notes : Stunning image of the famous Scottish Bluebell matchbox design, painted in Jones' favoured impasto technique.
comment : “I love this particular design - it has all the classic elements and hints at the works of Charles Rennie MacIntosh and art nouveau in general. It's a design shame that their marketing department felt the need to go for more colour on the box; its simplicity was its beauty and appeal.”
Gorra Light Mac (NFS)
Good Morning Campers (NFS)
date : 2007size : 23¼” x 33½”
medium : oil
notes : Another iconic institution and the notion of ‘jollidays’ are re-visited in Brian's own inimitable style.
comment : “For working class kids, Butlin's (besides time in a shack or caravan on the North Wales coast in my case) was just about the only holiday within reach for many. As a kid I went to Skegness and Pwllheli; I wish I still had my ‘Butlin's Beaver Club’ badge!”
Good Morning Campers (NFS)
Complement I
date : 2008size : 39” x 39”
medium : oil and acrylic
notes : First in the series of three ‘Complement’ paintings, which see Jones combine the complementary (opposite) colours of the title, with his target motifs on these large impressive canvases which are treated in a semi-dialectical manner.
comment : “I love to play with colour and form; I'm not big on dialectics, but in small doses, it can be very pleasing to the eye.”
Complement I
Complement II
date : 2008size : 39” x 39”
medium : oil and acrylic
notes : Second in the series of three of ‘complementary’ target paintings.
comment : “It is quite amazing how the same colours placed in different combinations give the distinct impression of individual compositions.”
Complement II
Complement III
date : 2008size : 39” x 39”
medium : oil and acrylic
notes : Last in the series of three complementary targets comprised of concentric circles.
comment : “This was not an exercise in Marxist dialectics; more an exploration of the qualities of colour and light when placed in different positions.”
Complement III
Blackspot
date : 2008size : 20” x 20”
medium : oil
notes : This negative companion to ‘Ghostarget’ has the textural quality to over-ride the absence of colour.
comment : “These (n)one colour pieces are almost Zen in that there are no distractions for the viewer.”
Blackspot
Ghostarget
date : 2008size : 20” x 20”
medium : oil
notes : The title suggests ‘traces’ of something that can no-longer be seen, but with his impasto application of the oil paint, this work certainly has a meditative presence.
comment : “I enjoy working with colour, but on occasion, I also like to create more tranquil pieces devoid of all colour. It is a challenge to describe form in the absence of colour.”
Ghostarget
Target in Cerulean (SOLD)
date : 2007size : 20” x 20”
medium : oil
notes : Another ‘peaceful’ and meditative work from Brian.
comment : “According to psychologists, pale blue is a calming colour that promotes feelings of well-being and encourages learning.”
Target in Cerulean (SOLD)
Zielschiebe
date : 2008size : 39” x 39”
medium : oil & acrylic
notes : Another in the artist's on-going exploration of the target motif, sees him combine a traditional ‘British’ target with the colours of the Deutsch flag. Exhibited at the ‘Babylon Academy’ group show in Berlin during summer 2008, this painting is another striking addition to his growing body of works.
comment : “It's interesting how nationalties are evoked by the combinations of a few colours.”
Zielschiebe
Aim
date : 2007size : 20” x 20”
medium : oil
notes : Another work in Brian's on-going exploration of targets as both motif and theme.
comment : “I painted this work as it relates to both my target works and the matchboxes that I've worked on. Based on an Indian matchbox design, I cropped the name from the composition and transferred it to the title.”
Aim
Fire
date : 2007size : 20” x 20”
medium : oil
notes : In this painting, which is part of Jones' body of target works, Brian casts his eye over a classic archery target and comes up with a striking New Pop work.
comment : “I've always had a fascination with targets, bullseyes and the like; this stems from shooting galleries at fair grounds; places where I can disappear in to the crowd and observe the side shows. My great-grandmother had a hoop-la stall on Pat Collins' fair in the first decade of the 20th century.”
Fire
Bullseye
date : 2007size : 39” x 39”
medium : oil
notes : Using basic targets as his point of departure, the artist applies his lateral thinking and his impasto technique.
comment : “I've looked at a whole range (no pun intended) of targets, from the RAF use to those of a shooting gallery. With this painting, I used the common vernacular ‘Bullseye’ (for target), then steered the work in that direction.”
Bullseye
Targed
date : 2010size : 10” diameter
medium : oil
notes : Classic ‘mod’ target in the colours of the Welsh flag, which also formed part of the ‘Popeth yn Gymraeg’ Futile Gesture.
comment : “It can be slightly disconcerting to see a familiar image presented in an alternative colourway.”
Targed
Roundeye
date : 2007size : 39” x 39;”
medium : oil
notes : Another in Jones' target series which have become a recurring motif of his over his many years of painting this subject.
comment : “Whenever I decide that I will embark on a new series of works, I spend a lot of time researching the theme as fully as possible. For example, before I started any of the matchbox paintings, I thoroughly researched the history of matches and only then did I think about the visual representation; it's the same with the flags, the targets and the next series which I am currently researching.”
Roundeye
Square Peg Round Hole
date : 2006size : 11¾” x 11¾”
medium : oil.
notes : ‘Twin’ of the smaller ‘Round Peg Square Hole’, part of Jones' on-going ‘Target’ works.
comment : “Sometimes I feel like a square peg in a round hole”.
Square Peg Round Hole
Round Peg Square Hole (SOLD)
date : 2006size : 8” x 8”
medium : oil.
notes : Smaller ‘twin’ to the larger ‘Square Peg Round Hole’, this painting, along with the others in the recent series were exhibited at the ‘rude and ill-bred’ joint show with the small but curvy dr.d.
comment : “Sometimes I feel like a round peg in a square hole; I always feel like one of them but never feel part of anywhere”.
Sold
Round Peg Square Hole (SOLD)
Squaring the Circle
date : 2006size : 11¾” x 11¾”
medium : oil.
notes : Another subversion of the classic target, this one playfully alludes to the draughtsman's conundrum by the same title.
comment : “I like to go back to certain images with fresh eyes. The last time I painted these was in 2003; I felt that enough time had passed for me not to be influenced by my own earlier works”.
Squaring the Circle
So Square So True (SOLD)
date : 2003size : 37½” x 38”
medium : oil on canvas.
notes : This work first showed at Jones’ ‘iCons’ exhibition in Derry, Northern Ireland. Lampooning the notion of ‘Cool Britannia’, the painting, executed in his favoured impasto technique, depicts the iconic ‘mod’ target, synonymous with 1960’s ‘Swinging London’, wittily squared.
comment : “Brit Art, Cool Britannia; square, because they are”.
Sold
So Square So True (SOLD)
Classic
date : 2007size : 39” x 39”
medium : oil
notes : Classic ‘Mod’ target given the treatment by Jones, in his continuing exploration and re-interpretation of all things ‘British’.
comment : “Since I first did Airfix model plane kits in the mid-60s (a Hawker Harrier was my first), I've been very taken with the red, white and blue target. Beyond that, I remember seeing a photo of Keith Moon wearing a white t-shirt with a huge target on the front; my first exposure to Pop Art as such. I also like taking known iconic imagery and re-presenting it in different contexts.”
Classic
Arc of the Covenant
date : 2006size : 8” x 8”
medium : oil.
notes : One of a series of four recent paintings in which Jones questions the notions of both art and Britishness. The ‘mod’ target has been a recurring motif throughout the artist's works for a number of years.
comment : “I keep looking at the original design and wondering ‘why does it still resonate with people?’ To some it's the RAF target, the Mod target, the Pop Art target, yet to me, it's another cultural iCon that deserves to be re-interpreted with a twist”.
Arc of the Covenant
For Foot's Sake
date : 2007size : 23¼” x 33½”
medium : oil and collage
notes : In this piece, which wittily plays on an oft-heard phrase of Brian's, he has collaged a fabric tape measure directly on to the canvas to both comprise the text and frame the composition.
comment : “I don't like the metric system at all; I've got a mate who is a builder who swears by mm for their accuracy, but I'm unpersuaded. Finally, the EU has ruled that the imperial measurement system can run in parallel to the metric system in Britain, and greengrocers will not-longer be fined for selling bananas by the lb. I also felt completely ripped-off as a kid; when we went to Rhyl, I used to get 240 goes on a one-arm bandit for a quid: after decimalization (metrication of my money), I suddenly only got 100 goes. I still speak in ‘old money’ and measure in inches, because they relate to proportions, clocks and calendars.”
For Foot's Sake
Biff Bang Pow SOLD)
date : 2006size : 11” x 9” each
medium : oil.
notes : ‘Biff Bang Pow!’ set of three, these small oils were produced in autumn 2006 and were exhibited at the ‘rude and ill-bred’ show in late 2006 and early 2007. The three images were also produced as a set of pin badges for this exhibition.
comment : “Not a triptych in the classical sense, it is a series which show together and are integral to each other. The title came from the classic mod track by The Creation”.
Biff Bang Pow SOLD)
Chelvis (SOLD)
date : 2006size : 23¼” x 33½”
medium : oil.
notes : Oil featuring Elvis as Che; revolution meets rock'n'roll in this 'iConic' head-on collision of Pop and politics.
comment : “An oxymoron; a ‘pure oil’ expression of mine”.
( SOLD )
Chelvis (SOLD)
Pop? (NFS)
date : 2002size : 43½” x 32½”
medium : oil and collage on canvas.
notes : This painting is graphics as fine art, fine art as graphics. Within the impastoed background, Jones has collaged bus tickets, stickers, and other found objects into the surface of the paint.
comment : “Journeys : like Kurt Schwitters, I’m fascinated by bus tickets and train tickets, which I collect for collage. This painting was a real pointer for the direction of my new works – a marker on a mapless route. I’ve since applied the conclusions reached on completion, to all subsequent paintings and prints. A satori; a kick in the eye”.
Pop? (NFS)
Ssshh (SOLD)
date : 2006size : 23¼” x 33½”
medium : oil.
notes : Text as image in this comment on contemporary British art. Another of Jones' themes for more than twenty years has been the incorporation of typography within his compositions.
comment : “When you take mon£y out of the equation there is very little that qualifies as art left in most ‘contemporary art’. The King's new clothes? I see him as a naked anachronism!”.
Sold
Ssshh (SOLD)
Self Portrait
date : 2003size : 32½” x 47½”
medium : oil on canvas.
notes : This canvas, titled ‘Self Portrait’, poses the question “what is art?” The painting challenges the viewer, with its stark palette, and its minimal, yet humourous treatment.
comment : “It’s a painting of my signature, though a painting nonetheless. It’s asking “what is it that is valued in art?” – too often it’s merely a signature, rather than anything aesthetic, or of merit. It’s ‘signed’ in the paint, in the bottom right, as are all my oil paintings.”
Self Portrait
If You See Kay (SOLD)
date : 2005size : 20;” x 20”
medium : oil.
notes : Original Brian Jones oil on canvas, which inspired the prints by the same title… exhibited at his ‘iCons’ show in Cardiff, another example of Jones' ‘fine art as graphics: graphics as fine art’, using his favoured impasto technique.
comment : “Hand-drawn, then hand-painted using traditional oil on canvas; to counter-balance my subject matter, I try to use traditional materials whenever possible. If I am going to paint on canvas, I use oils; they're far more tactile than acrylics, and will hopefully last for at least 500 years longer!”.
( SOLD )
If You See Kay (SOLD)
Winkachu
date : 2006size : 23¼” x 33½”
medium : oil.
notes : Portrait of a 21st Century iCon.
comment : “I think that Pikachu is to this century what Mickey Mouse was to the last”.
Winkachu
Gene Serene (SOLD)
date : 2006size : 31½” x 23½”
medium : oil and collage.
notes : First in the series of five portraits of the Dada Gods, this painting combines many elements of Jones’ works, including impasto, brush work and collage. Since 2004 Jones has undertaken to produce visuals for Ms. Serene, from the DaDA Discs and G.S. logos, to sleeves for her releases to date. This painting, based on a series of photographs taken by Jones at Electrogogo (London) also features the artwork (used as projection) of the now highly sought-after limited edition white vinyl 7”, ‘Electric Dreams’.
comment : “When I looked at the snaps I’d taken, this particular image stood-out as a strong, almost graphic depiction of Genie in live action. I spent many hours firstly looking at the photograph in question, then applying various techniques to achieve an impression of the essence of her performance. I could have simply ‘painted a photograph’, but that is not how I work”.