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274 Hits for November 2021
Albums (0) & Images (274)
Noblesse Oblige
notes : Art Punk Franco-Germanic duo in action, live at London's Electrogogo. Controversial? They're bitches and rabbits on heat …Noblesse Oblige
Norma Queen
date : 2002size : 35” x 16½”
medium : giclée.
notes : This gicléed multiple, from the original single collage, was produced for the ‘Vive La Republique’ anti-golden jubilee show at the Centre of Attention, London. The image was selected by the London Evening Standard ‘Hot Tickets’ to promote the exhibition.
comment : “I was working with Jamie Reid at this point; I wanted to do a piece for this show, but what could I do to the queen that Jamie hadn’t already done? I steered away totally from his work, planted my tongue firmly in my cheek; I found a picture of QE2 without a crown or headscarf (not as easy as it may sound). She had that kind of 50’s semi-Marilyn suburban housewife hairdo, so I produced ‘Norma Queen’”.
Prints available
Norma Queen
Norma Queen
date : 2002size : 35” x 16½”
medium : giclée.
edition : 25
paper : .
price : £350
notes : This gicléed edition, from the original single collage, was produced for the ‘Vive La Republique’ anti-golden jubilee show at the Centre of Attention, London. The image was selected by the London Evening Standard ‘Hot Tickets’ to promote the exhibition. Produced in 2002, but only released in 2004, this piece is already in the collections of noteable pop stars and djs.
Norma Queen
Norma Queen X
date : 2012medium : digital collage
notes : A collaborative piece produced by Brian and Shaun Featherstone for the front cover of ‘The Great Frock 'n' Robe Swindle’ anti-jubilee newspaper art project.
comment : “I was asked could the Xs be added and said “yes”, so it's a collaboration with someone that I've never met!”
Norma Queen X
Not Just A Matter Of Time
date : 1991size : 14¾” x 11¾”
medium : oil pastel.
notes : Not strictly a ‘painting’, this drawing dating from the early 90s is a progression from Jones' earlier (documented) figure paintings.
comment : “I could see a good friend being torn in two, but he couldn't bring himself to speak about it. This piece spoke to him, and he made two roads of it”.
Not Just A Matter Of Time
Ogham Cycle
date : 1990 - presentsize : 6ft. x 8ft.
medium : oil and mixed media.
notes : One of a series of works in progress which developed from the artist's landscape works of the 1980's.
comment : “As well as my other works, I've always loved trees, and been interested in old alphabets. I started the process of abstracting trees while still doing my degree. The early ones were ‘just paintings’ in that they were pictorial representations of physical objects +/or places. I first looked at Scandinavian runic letters, and incorporated these into some works, though I then came across the Ogham alphabet, which held a far more personal resonance. The Ogham script was used throughout the British Isles (most notably in Ireland) in ‘Celtic times’; consisting of a series of ‘notches’ made across a horizontal (or vertical) line, it was used, by the Druids amongst others, for inscriptions ranging from memorials to spells. It was a tree alphabet, also known as the Beth Luis Nuin (= Birch, Rowan, Ash), after the first three letters / trees of the alphabet. It was also a calendar of 13 lunar months, with each month designated its own tree and letter. It can be seen purely as a practical decorative work, or looked at more closely, a longer term piece. It may take me another 5 years to complete, but there's no rush. For further reading on the Ogham alphabet, ‘The White Goddess’ by Robert Graves is a good starting point”.
Ogham Cycle
Oil Addict
date : 2006size : 8½” x 11½”
medium : collage.
notes : Produced in response to the “addicted to oil” comment, Jones subverts the 80's anti-heroin ads; the text reads as follows:
When life doesn't seem that great, oil might seem a great way to have a few laughs.
But it won't be long before the fun turns into a bad joke. You'll start looking ill, losing weight and feeling like death.
You'll lose control of your mind as well as your health. And eventually you might even risk death.
So if a friend offers you oil, don't treat it as a joke.
Otherwise oil might have the last laugh.
comment : “Being an artist is better than being a mass-murderer, or a bollitician”.
Oil Addict
Only A Matter Of Time
date : 1982size : 20” x 20”
medium : oil.
notes : Self-effacing self portrait from the early 80's, complete with set of flying ducks.
comment : “Well, isn't it? This was one of the pieces that I destroyed in 2001; it's only by chance that I found a photo of when it was first painted”.
Only A Matter Of Time
Original Kevs logo
date : 2006size : 11½” x 8½”
medium : collage
notes : Logo produced for the excellent young Kevs.
comment : “This was a real joint effort with Alfie Strong from the band; we produced two originals, exactly the same, which we both signed and have one each of. That seemed the fairest way to deal with things.”
Original Kevs logo
Ova & Out ad
date : 1991size : 11¾” x 8¼”
medium : collage.
notes : Advertisement for ‘Ova and Out’ newspaper – this appeared as part of the layout for the ‘Rise of the Phoenix / Celtic Surveyor’ exhibition brochure.
comment : “Another use of the ‘Spectacle’ shot – done before Berlin”.
Ova & Out ad
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
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
Penrallt sign
date : 2008size : 42” x 27½”
medium : enamels on board
notes : One of two identical hand-painted signs for the Penrallt campsite, on the north coast of Pen Lleyn.
Penrallt sign
People of Berlin...
date : 2008size : 31” x 23”
medium : giclée.
edition : 33 signed & numbered
paper : Hannemuhle 265gsm 100% cotton rag.
price : £350
notes : Third image in the artist's cities series, sees Jones cast his acerbic eye over the history of Berlin, from the burning of the Reichstag through re-unification and the wrapping of the Reichstag. JFK is represented with a ‘doughnut halo’, echoing his mis-translated quote “Ich bin ein Berliner” / “I am a doughnut”, which comprises the border along with images of Berliner doughnuts.
People of Berlin...
Perygl Tetra
date : 2005size : 3¾” x 4¾”
medium : photocopy.
notes : Welsh-language version highlighting the dangers of these structures.
comment : “What goes-up, must come-down”.
Any UK groups wanting hi-res. versions of the anti-Tetra graphics, please use the "Contact page" to e-mail Brian Jones.
Perygl Tetra
Pigs On A Hill At Dawn
date : 1983size : 6” x 6”
medium : oil and mixed media on board.
notes : Early piece, which showed at several exhibitions, before it was stolen.
comment : “It's only been since writing comments on my works, that I've realised how many pieces have been stolen over the years”.
Pigs On A Hill At Dawn
Pin-up
date : 2009size : 31” x 23”
medium : giclée.
edition : 33 signed, numbered and titled by the artist
paper : 265gsm 100% cotton rag.
price : £350
notes : Over the years, Jones has produced several of his ‘Technotica’ images; ‘Pin-up’ is his first to be published as a Limited Edition print.
Pin-up
Pistols Pop n Dada
date : 2012medium : giclée.
edition : 33 signed numbered and titled by the artist.
paper : Hahnemuhle 265gm 100% cotton rag.
price : £350
notes : A secret history tracing the development of what was to manifest itself as ‘Punk graphics’ in late twentieth century Britain, back through Pop Art, John Heartfield, and ultimately to Dada.
The work is a psychogeographical journey through place, person, and time, to a soundtrack of bombs, Be-Bop, and Beat, complete with lines of influence, development lines, and secret passages. It is equally an overview of one hundred years of montage and collage. The legend in the lower left corner alludes to the S.I. exhibition held at the I.C.A. (London) in 1989.
comment : “I've had this piece in my head for years; the information is based on the research that I did for an (as yet) unpublished book of the same name. Then I got invited to make a map for the ‘Maps Only’ exhibition in San Francisco. A map? Perfect opportunity to develop the idea and matured sketch. Every path, dot, and name-plate were cut and placed by hand. It felt appropriate to use collage for the original piece in honour of all those names that history has forgotten. A map, a journey, a timeline, a tree of life (or family), a web, an interpretation, a circuit board, an imaginary city, my theory.”
Pistols Pop n Dada
Pop Art Politician
date : 2002size : 11¾” x 8¼”
medium : collage.
notes : A pastiche of Warhol’s ‘Two Elvises’, ex-president Reagan is featured in the rockin’ role. This piece has showed at several exhibitions, including the Liverpool Biennial of Contemporary Art.
comment : “A phrase from a song by Love that’s been going around my brain for longer than I care to remember. Gunman as president, president as gunman. I attempted this piece in 1990, but it wasn’t quite right. I did it properly this time.”
prints available
Pop Art Politician
Pop Art Politician
date : 2005size : 23” x 31”
medium : giclée.
edition : 25 signed & no.'d
paper : .
price : £350
notes : Based on the original collage, due to public demand released in Summer '05, as a signed and numbered Ltd. Edition giclée in an edition of just 25.
Pop Art Politician
Pop Queen
date : 2001size : 11¾” x 8¼”
medium : collage.
notes : Another of the ‘iCons’ New Pop images produced since the turning of the Millennium. New Pop for a new century.
comment : “Certain aspects of celebrity intrigue me, though not in a sycophantic way”.
Pop Queen
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)
Poppies Abstract 1
date : 2002size : 30½” x 22½”
medium : screenprint.
notes : A classic piece of contemporary ‘Pop Art’, by rising ‘New Pop’ / Punk artist Brian Jones, which has political resonance with the works of John Heartfield, and George Grosz.
This image has featured in the British Council touring exhibition ‘Upfront and Personal: Three Decades of UK Political Graphics’, on BBC Northern Ireland, and the ‘Pax Britannica’ anti-war exhibition at London’s Aquarium Gallery, where it hung, literally, next to works by Richard Hamilton and Jamie Reid.
comment : “Blair as Chairman Mao; he was acting like a president, which brought this image to mind…..”.
edition : 50 prints available
Poppies Abstract 1
Poppies Abstract 2
date : 2005size : 31” x 23”
medium : giclée.
notes : With the turning of the new millennium, the sleeping giant awoke, only to find the same old images were still roaming the landscapes of the imagination like cultural dinosaurs. After a thousand year slumber, he rubbed his eyes several times in disbelief. Then declared cultural guerilla war on Mammon and her offspring…
comment : “The title comes from a Memphis Slim tune; the sentiment comes from NOW!”.
Prints available.
Poppies Abstract 2
Poppies Abstract 3
date : 2003size : 12” x 12”
medium : giclée.
notes : Third in the series based on photographic source.
comment : “Very ‘William Blake’ – world in a grain of sand…”
Poppies Abstract 3
Portrait of the Artist as a Young Dog
date : 1982size : 3 feet x 2 feet
medium : oil.
notes : One of the few surviving early works, this is a self-portrait in the manner of later Jones self-portraits, which take the subject as theme, expressed in oblique form.
comment : “James Joyce, Dylan Thomas, and me. Self-portraits with a twist; I took the book title literally, and was there … a red dog”.
Courtesy of Brown / Sangster collection.
Portrait of the Artist as a Young Dog
Punk Aid
date : 2002size : 5½” x 5½”
medium : lithograph.
notes : Six graphics produced for Punk Aid’s ‘25 Years of Anarchy’ charity album.
comment : “When kids and charity are mentioned in the same sentence…”.
Punk Aid
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
Red Moon
date : 1984size : 32” x 24”
medium : oil.
notes : Detail of an abstract landscape, inspired by Max Ernst's ‘Europe After Rain’.
comment : “One of a series of abstract landscapes that I worked on when I lived in the city. I have an idea about who stole some of my lost works, but with this one, I really don't have any clues”.
Red Moon
Rev Rev (back)
date : 1989size : 12”
medium : screenprint.
notes : Back cover of the ‘Revelation Revolution EP’ by the legendary Rev Rev.
comment : “… I got a stack of photocopies and photos, and was asked to to make it interesting in two colours – oh, and “we’ve only got Ł100, can you print us 500 sleeves?”!”
Rev Rev (back)
Rev Rev (front)
date : 1989size : 12”
medium : screenprint.
notes : Front cover of the ‘Revelation Revolution EP’, by the legendary Rev Rev.
comment : “The band had definite ideas, and very little money…”.
Rev Rev (front)
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)
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
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)
Satori of Sofia
date : 2006size : 31” x 23”
medium : giclée.
edition : 25 signed, numbered and dated by the artist.
paper : 265 gsm 100% acid-free rag.
price : £350
notes : Strictly Limited Edition of the second in Jones' series of ‘Cities’, this one focuses on the Bulgarian capital, Sofia.
Satori of Sofia
Satori of Sofia
date : 2006size : 24” x 17½”
medium : collage.
notes : Second in Jones' series of cities, ‘Satori Of Sofia’ (S.O.S.) voices the artist's concerns and observations of the Bulgarian capital.
comment : “It's like the worst of Fagin and his gang meets East European mafia. Corrupt from the top down. Check my ‘Bulgarian Misadventures’ which will be appearing in the ‘Words: Wordsmith’ section of this site in the near future”.
Prints available.
Satori of Sofia
Say Hello, Wave Goodbye
date : 2006
size : 8½” x 11½”
medium : collage.
notes : One of several pieces produced by Jones for the Blacksmoke / Greenpeace ‘Danger Global Warming’ project. A postcard from London, playfully splicing the Soft Cell song title, with Hokusai's ‘The Great Wave’.
comment : “Originally ‘Your Planet…’ was produced for this project, but things got a little too interesting in Sofia, so it was shelved. Months later they came back and asked me to produce an image using their tape…”.
Say Hello, Wave Goodbye
Self Portrait
date : 1984size : 6” x 4”
medium : lino print with oil.
notes : Early semi-abstract example of Jones' disregard for rules; lino print onto postcard using oil paint.
comment : “Over the years, I have done numerous self portraits; many artists (from Rembrandt to Warhol) have used their faces as a starting point - I tend to use the title as the same starting point. At the time that this was created, I was stripping everything back to the bottom line”.
Self Portrait
Self Portrait
date : 1980size : 10¾” x 7¾”
medium : collage and mixed.
notes : Extremely early example of Jones' use of collage and mixed media.
comment : “It's funny to be able to look at something I did a quarter of a century ago, which, by some fluke has managed to survive; includes charcoal drawing, oil pastel, pieces of charcoal, hair, life drawings, oil paintings, a torn shred of a Top Rank wage slip (don't ask!), and lumps of oil paint. I still look like that now”.
Self Portrait
Seven Dials
date : 2006size : 7” x 7”
medium : collage
notes : Graphic produced for Gene Serene and DJ Downfall's ‘Seven Dials’ track.
comment : “It's a pleasure working with Genie; she trusts my judgment 100% and effectively lets me get on with it - other than Genie, I prefer to have some input from the bands but none of that record company interference.”
Seven Dials
Seventeen logo
date : 2002size : 4” x 2”
medium : collage.
notes : Logo for Paris-based Seventeen Records.
comment : “Working to a brief, it still had to have the right ‘feel’ ”.
Seventeen logo
Shoulder To Shoulder
date : 2006size : 23” x 31”
medium : giclée.
notes : Third in the series of anti-war stamps designs that Jones has produced as his artistic response to the on-going Oil Wars. 33PM published the first three anti-war stamp designs as sheets of gummed stamps in 2006.
comment : “Without sounding cynical, let's cut to the chase … these wars are not about sand! Inspired by Asian Dub Foundation's ‘Oil’ track, this is the 3rd. and hopefully last in the series”.
Shoulder To Shoulder
skrufff
date : 2002size : 11¾” x 8¼”
medium : collage.
notes : Graphic produced for skrufff e-zine, based on the famous WWI recruitment poster.
comment : “You need skrufff.com!”
skrufff
Skullface
date : 2002size : 11¾” x 8¼”
medium : collage.
notes : Produced for Voodoo during Jones’ time working with Arcova Studio; credited as a joint Brian Jones / Jamie Reid work. This piece has appeared on flyers, t-shirts, and in the ‘Making Urban Nightscapes’ book on youth culture. It has shown at the ‘Golden’ exhibition in London, and the ‘Lies Lust Art and Fashion’ exhibition in Berlin.
comment : “No comment”.
Skullface
So Square So True
date : 2003size : 30½” x 22½”
medium : screenprint.
notes : Echoing the sometimes whimsical works of Richard Hamilton, and particularly Peter Blake, Jones has subverted the iconic 1960’s mod target for the 21st Century.
comment : “Nuff said; dig it maaaan”.
edition : 50 prints available
So Square So True
So Square So True
date : 2003size : 21¾” x 23”
medium : screenprint.
notes : Pop Edition of Jones’ witty subversion of the 1960’s mod target, synonymous with Swinging London. Individually numbered, and stamped with ‘Pop Edition’, and the artist’s facsimile signature.
comment : “The copy is king; everyone an original”.
edition : 500 prints available
So Square So True
Sound of the Crowd
date : 2006size : 7” x 7”
medium : collage
notes : Graphic produced for Gene Serene's excellent cover of the Human League track.
comment : “With MySpace and all those other sites, more images are needed.”
Sound of the Crowd
Spanish Cove
date : 1997comment : “A special spot in West Cork; I’ve travelled all over, but I’ve never felt more like ‘I’m home’, than in the Rebel County … completely sunshined-out, I scaled a 100ft sheer cliff face barefoot. When I got to the top, there was an outcrop just wide enough for me to lay on, and take this picture”.
Spanish Cove
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
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
Squaring The Circle
date : 2006size : 31” x 23”
medium : giclée.
edition : 33 signed & numbered.
paper : 265 gsm Hahnemule cotton rag.
price : £350
notes : Second in the series of new prints based on paintings, this work playfully twists the draughtsman's conundrum with the vernacular ‘mod’ target.
From a Limited Edition of 33, signed, numbered and dated by the artist.
Squaring The Circle
Ssschlurp
date : 1985size : 46” x 38”
medium : oil.
notes : One of a series of paintings depicting abstracted figures.
comment : “At the time, I remember looking at a lot of Australian aboriginal art (more obvious in ‘Gog And Magog’). This painting was destroyed by the hand that created it in 2001”.
Ssschlurp
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)
St Andrew's Day Stomp
date : 1991size : 16¾” x 11¾”
medium : photocopy.
notes : Poster for the Anhrefn / Nyah Fearties gig in Caernarfon.
comment : “Of course, Jamie sprung this on me at the last minute, so I had about an hour to do the artwork, and get it posted. Rhys (from Anhrefn) thought it wasn’t coming, so he made a quick poster; we had both used exactly the same image for the posters”.
St Andrew's Day Stomp
St. Andrews Day Stomp
date : 1991size : 11¾” x 8¼”
medium : collage.
notes : Original artwork for an Anhrefn / Nyah Fearties show.
comment : “Jamie was asked to do it, but he asked me…”.
St. Andrews Day Stomp
Suffragette City
date : 2006size : 11½” x 8½”
medium : collage.
notes : Another concern of the artist is the whole question of individual freedom. One of a series of anti-iD card pieces, this work, taking its cue from the David Bowie track, shows both his senses of history and humour.
comment : “iD cards will literally be ‘taking liberties’…”.
Suffragette City
Survival Token
date : 2008size : 11½” x 8½”
medium : collage
notes : Another in the series of ‘Arian Cymraeg’ (Welsh money) designs for ‘Welsh Art Now’ magazine. In this piece, Jones reduces paper money to its bottom line…
comment : “What are banknotes? Survival tokens!”
Survival Token
Taliesin's kite
date : 1998size : 40” x 27”
medium : oil on canvas.
notes : Hand-made kite featuring Jones' depiction of the Welsh Dragon, produced for his eldest son in the late 90's.
comment : “I think her name is Gwyddelwern. I painted / made this when I lived in Y Foel (Cwm Banwy). She's a Welsh dragon, as her tail is pointing upwards, and a she, as only the females have wings: am fy gyntaf bachgen, Taliesin”.
Taliesin's kite
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
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)
Teeth 01 A
date : 2004size : 3½”
medium : lithograph.
notes : A-side label for the ‘Electric Dreams’ vinyl 7”, released on BabyTeeth Records.
comment : “I don’t find two colours limiting; I served my apprenticeship using one”.
Teeth 01 A
Teeth 01 AA
date : 2004size : 3½”
medium : lithograph.
notes : AA-side label for the ‘All Over You’ Ltd. Edition vinyl 7” by Gene Serene.
comment : “All the work I’ve done for Gene has been flat, collaged artwork; there’s certain looks that cannot be created with a computer”.
Teeth 01 AA
Terry Hall & Siobhan Fahey
notes : An informal portrait taken backstage at Ms. Fahey's London show, for which they kindly consented to pose for me. A charming pair if ever there was.Terry Hall & Siobhan Fahey
Tetra Safety Instructions (English)
date : 2005size : 8½” x 11½”
medium : photocopy.
notes : Three ‘safety’ graphics produced for the Llanidloes Anti-Tetra Mast Campaign.
comment : “I wouldn’t want anyone getting hurt!”.
Any UK groups wanting hi-res. versions of the anti-Tetra graphics, please use the "Contact page" to e-mail Brian Jones.
Tetra Safety Instructions (English)
Tetra Safety Instructions (Welsh)
date : 2005size : 8½” x 11½”
medium : photocopy.
notes : Three Welsh-language ‘safety’ graphics produced for the Llanidloes Anti-Tetra Mast Campaign.
comment : “Tetra ydy newydd drwg am pawb; Perygl!”.
Any UK groups wanting hi-res. versions of the anti-Tetra graphics, please use the "Contact page" to e-mail Brian Jones.
Tetra Safety Instructions (Welsh)
The Boy King
date : 2004size : 12” x 12”
medium : collage.
notes : Graphic featuring footballer, Wayne Rooney, as the original ‘Boy King’, Elvis Presley.
comment : “I think there are parallels to be drawn between Rooney and Presley”.
The Boy King
The Boy King (SOLD OUT)
date : 2004size : 14” x 16”
medium : giclée.
edition : 18
paper : .
price : SOLD OUT
notes : Graphic featuring footballer, Wayne Rooney, as the original ‘Boy King’, Elvis Presley. From a giclée edition of only 18.
The Boy King (SOLD OUT)
The Idiot Son
date : 2003size : 20” x 30”
medium : giclée.
notes : Produced as a transatlantic twin to ‘Blairman Mao’, a smaller signed giclée version of this piece was Jones’ contribution to the Ltd. Edition (of 100) ‘Pax Britannica’ anti-war boxes. These also featured works by Richard Hamilton, Ralph Steadman, Banksy, Jamie Reid, and others.
comment : “It was nice seeing it hung next to Richard Hamilton’s piece”.
prints available
The Idiot Son
The Idiot Son
date : 2003size : 23” x 31”
medium : giclée.
edition : 25 signed & no.'d
paper : .
price : £350
notes : Striking transatlantic companion to the iConic ‘Blairman Mao’, showing the wit, satire, and acute observations of Jones.
The Idiot Son
The Kevs EP back
date : 2006size : 7” x 7”
medium : collage.
notes : Back cover for the Kevs debut release.
comment : “I also designed the back; on the inside cover, there's a couple of pages of band collages that Alfie did”.
The Kevs EP back
The Kevs EP front
date : 2006size : 11¾” x 8½”
medium : collage.
notes : Logo for the Kevs, produced collaboratively by Brian Jones and Alfie Strong.
comment : “This really was a joint effort; I had an idea, which I showed to Alf, he added his ideas, and we came up with this. There are two original collage pieces of this work, which both Alfie and myself have signed and numbered; this seemed the fairest way of crediting our efforts, and we both have an original”.
The Kevs EP front
The Kevs logo
date : 2006size : 11¾” x 8½”
medium : collage.
notes : Logo for the Kevs, produced collaboratively by Brian Jones and Alfie Strong.
comment : “This really was a joint effort; I had an idea, which I showed to Alf, he added his ideas, and we came up with this. There are two original collage pieces of this work, which both Alfie and myself have signed and numbered; this seemed the fairest way of crediting our efforts, and we both have an original”.
The Kevs logo
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
The Scream
date : 2005size : 20” x 13”
medium : woodcut.
notes : Limited Edition woodcut version of ‘The Scream’ (after Munch).
comment : “I saw this image when I was a kid sagging school (playing truant); I always wondered what made the woman scream - something the two fellas said/did? Or something else?”.
Prints available
The Scream
The Scream
date : 2005size : 20” x 13”
medium : woodcut.
edition : 25 signed & no.'d
paper : .
price : £350
notes : Limited edition woodcut, hand rendered by the artist on Arches. A classic re-interpretation by one of Britain's most important emerging artists.
The Scream
The Scream (after Munch) (SOLD OUT)
date : 2005size : 6” x 7”
medium : collage & pastel.
notes : 19th century angst meets 21st century angst in Jones’ playful, yet cutting re-interpretation of Munch’s iconic image. Another classic example of Jones’ witty and irreverent worldview.
comment : “A clash of giants, in terms of the elements used. I’ve often wondered about this picture; what made her ‘Scream/Cry’? These signs make me want to scream. Cultural Colonialism by any other name, and I’m not a xenophobe”.
The Scream (after Munch) (SOLD OUT)
The Spider and the Fly
date : 1984size : 6¼” x 8¾”
medium : watercolour and ink.
notes : Rare survival from Jones' 2001 destruction of his earlier works.
comment : “This was a study for a small oil painting of the same title. I gave the painting to my mam, so there's a good chance it's still packed away in a box somewhere!”.
The Spider and the Fly
The Time Is Now!
date : 1987size : 6” x 4”
medium : lino print.
notes : Hand-printed Ltd. Edition lino print postcard.
comment : “I did 100 of these on a kitchen table”.
The Time Is Now!
The Time Is Now!
date : 1986size : 3½” x 2¼”
medium : collage.
notes : Logo produced for ‘The Time Is Now!’; this appeared on all covers, posters, and layout.
comment : “I like working on small fiddly things, then blowing them up, or whacking the contrast up when copying…”.
The Time Is Now!
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
Time Shard Live
date : 1996size : 4” x 4”
medium : photocopy.
notes : Front cover of a Limited Edition cassette-only live album by seminal cyber-druids, Time Shard. This bands' antics were to include burying a time capsule on the top of Parliament Hill (London) upon signing their deal, to launching their ‘Hunab Ku’ album by boat between the bridges of London on a Full Moon, in defiance of the Criminal Justice Act which outlawed free festivals. Apparently, their manager cursed the then Tory government, and almost 9 months to the day later, Britain elected a Labour government for the first time (shard) in almost 20 years. Spooky eh?.
comment : “Signed to the legendary Planet Dog Records, this band were doing it live before the Orb, label mates Eat Static, Underworld, Prodigy, KLF, or any other techno outfit you can shake a stick at. To quote a band member, they ‘coagulated like scum on a pond’. Throughout the 80's and early 90's, they played at every major free festival in Britain, including the infamous Castlemorton free fezzy (it was all Gobber's fault). In another incarnation, I spent five years travelling all over Europe with this shower. Amongst other things, I also designed the cover and labels for their live album, which I very nearly forgot about. To paraphrase Howard Devoto “they just came from Nowhere, and they're goin' straight back there”!”.
Time Shard Live
Trains on Train
date : 2001credit : Gordon McHarg.
comment : “This is a shot of the Art Tube 01 panel in situ, on the Piccadilly Line”.
Trains on Train
Trains panel
date : 2001size : 24” x 11”
medium : lithograph.
notes : One of only four lithographic panels produced for the highly successful ‘Art Tube 01’ exhibition. Credited as a joint Brian Jones / Jamie Reid work, this piece was selected to feature on the official London Transport website.
comment : “Half a credit is better than none at all”.
Trains panel
Trains v1
date : 2001size : 23” x 8”
medium : collage.
notes : First version (unused), produced for the Art Tube 01 show.
comment : “Immediately, I could see the piece in my mind’s eye; this version was almost what I wanted, but not quite”.
Trains v1
Trains v2
‘Trains v2’date : 2001
size : 23” x 8”
medium : collage.
notes : Final version of the image, produced for the highly successful ‘Art Tube 01’ exhibition.
comment : “It took a lot of work to achieve something so simple; it’s like a butterfly”.
Trains v2
TV LiEs
date : 1986size : 7½” x 5¾”
medium : collage.
notes : Image produced for ‘The Time Is Now’ magazine.
comment : “William Burroughs reading a book – cut-it-up; met him a couple of times when he was in Liverpool”.
TV LiEs
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)
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
Ubu Roi
date : 1982size : 6” x 8”
medium : mixed.
notes : An early painting of Alfred Jarry’s ‘Pere Ubu’, showing the artist’s interest in the Theatre of the Absurd, and early Dadaists.
comment : “I like this piece; it was stolen from an exhibition – I don’t know where it is now”.
Ubu Roi
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
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)
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)
Wanted Warhol
date : 2002size : 19¼” x 28¾”
medium : screenprint.
notes : Another of Jones’ iconic New Pop works, hand-rendered by the artist himself. Individually numbered, and stamped with ‘Pop Edition’, and the artist’s facsimile signature.
comment : “Art for all; all for art”.
edition : 750 prints available
Wanted Warhol
Wastercard
date : 2006size : 8½” x 11½”
medium : collage.
notes : A recurring motif over the years, are his series of ‘subverts’; this one deals with the evils of credit cards.
comment : “You buy the best that you can afford… if you can't afford it, save up for it. Cash is King!”.
Wastercard
WCiGT badge
date : 2007size : 1”
medium : badge
notes : Badge design produced as part of the ‘Where Can I Get This?’ promotional campaign.
comment : “I like ephemeral items such as badges.”
WCiGT badge
WCiGT EP back cover
date : 2007size : 10” x 10”
medium : lithograph
notes : Back cover for the ‘Where Can I Get This?’ EP on Dada Discs, released in May 2007 in a strict Limited Edition of only 500 copies on 10” pink vinyl.
comment : “I really like doing sleeves for vinyl releases… my brief was vague - “spirals, zigzags, a vortex and a pattern” - “you know what I mean” said Genie, and only a week to do the whole EP job! Vinyl is great; 10”ers are few and far between and coloured vinyls are like rare birds these days.”
WCiGT EP back cover
WCiGT EP front cover
date : 2007size : 10” x 10”
medium : lithograph
notes : Front cover for the ‘Where Can I Get This?’ EP, featuring tracks by Matt Catt versus Gene Serene.
comment : “Negative version of the same image as used on the poster.”
WCiGT EP front cover
WCiGT label A-side
date : 2007size : 3½” diam.
medium : lithograph
notes : A-side label for the debut vinyl release on Dada Discs.
comment : “Black and white can sometimes be a virtue rather than a restriction.”
WCiGT label A-side
WCiGT label AA
date : 2007size : 10” x 10”
medium : lithograph
notes : Back cover for the ‘Where Can I Get This?’ EP on Dada Discs, released in May 2007 in a strict Limited Edition of only 500 copies on 10” pink vinyl.
comment : “I really like doing sleeves for vinyl releases… my brief was vague - “spirals, zigzags, a vortex and a pattern” - “you know what I mean” said Genie, and only a week to do the whole EP job! Vinyl is great; 10”ers are few and far between and coloured vinyls are like rare birds these days.”
WCiGT label AA
WCiGT poster
date : 2007size : 30” x 20”
medium : lithograph
notes : Double Crown sized promotional poster produced for Dada Discs' ‘Where Can I Get This?’ EP.
Throughout 2009, this poster featured regularly on top British tv soap, Eastenders.
comment : “Promo poster that the label used in London and Berlin to promote the release of the record”
WCiGT poster
Wedding Piece
date : 2006
size : 11¾” x 8½”
medium : collage.
notes : A unique piece produced for the front of a specially-commissioned wedding invitation.
comment : “The brief was ‘a piece of artwork on one side and the details on the other’; I use an early German renaissance painting by Lukas Cranach as the basis for the design. I then travelled to Frankfurt, where I delivered a wedding blessing in Deutsch, English, and Scots Gaelic…”.
Wedding Piece
Welsh Queen / Brehines Cymru
date : 2008size : 11½” x 8½”
medium : collage
notes : One of four designs for Welsh Art Now magazine's first issue, featuring everybody's favourite Welsh queen, Dafydd Thomas. Brian was asked for his artistic response to the introduction of local currency in Llandovery, Llandeilo and Lampeter.
comment : “I think that Dafydd Thomas makes a good ‘Brehines Cymru’! The four designs that I settled on are all black & white collages - flat analogue artwork (as opposed to digital) is always my preferred method of working.”
Welsh Queen / Brehines Cymru
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)
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
Work in progress
date : 2003credit : Steffan Jones-Hughes.
comment : “Me printing an edition on Arches”.
Work in progress
Xmas Pud
date : 2002size : 6” x 2¼”
medium : photocopy.
notes : A Christmas Pudding as cartoon bomb.
comment : “Always an explosive time for families …… maybe I’ll go to Morocco”.
Xmas Pud
Zielscheibe
date : 2008size : 31” x 23”
medium : giclée.
edition : 25 signed & numbered
paper : Hannemuhle 265gsm 100% cotton rag.
price : £350
postage : £6 UK : £8 Eur : £10 USA / Can / Aus. Please ask for cost to other areas.
notes : Based on the painting by the same name, Jones applies the colours of the Deutsch/ German flag to an ‘iConic’ British motif.
Zielscheibe
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.”