Jones believes that the ceaseless reevaluation of historical fact allows us to recognize true beauty. To that end, his work begins with images that reference emotional memory. These images, like memory, are pushed and pulled--boundaries blurred, data bent, reality distorted, clarity erased--until the picture is altered, often to the point of complete obfuscation. The result is a recontextualization of the image as a contemporary take on a fleeting moment, a digital impressionism. These selected memories create a reality that may be strikingly disconnected from the original circumstances that created them, manifesting in a composition of globular clusters, organic shapes, and pixilated images.
Jones studied Drawing and Painting at the University of North Texas. He’s had numerous solo and group exhibitions including Temporary Occupants 2011, Eastfield College, Dallas; I’ll tell mom ____ if you don’t ____., The McKinney Avenue Contemporary, Dallas; and Object Object!, Helmuth Projects, San Diego. His work has also been included in Videoholica 5, Varna, Bulgaria; New American Talent 19, Arthouse, Austin; and the 2005 Texas Biennial. In addition, Jones’ work resides in corporate collections, including Brown & Root, Houston; HO+K, Kansas City, MO; Magnolia Pictures and Which Wich, Dallas.
Each piece in this collection of photos possesses the power to evoke a kind of aching and longing triggered by a viewer's familiarity with what is depicted. In this body of work Jones does not present us with the grand theatrical scenery. Rather, he deliberately chooses the more quiet, less cinematic, less studied. These places feel more familiar and democratic. In these images, the presence of humans is only implied and the reality of physical space is supplanted by a digital reconstruction. For Jones, this evokes a sense of what could be called social voyeurism; the figures have left, and we are invited to peek through the curtains, an all too familiar practice as we become increasingly dependent on showing, looking, and telling through digital media. For others, this absence only enhances feelings of isolation, longing, and wonder. Using the already fictional media of cinema, television, and photography, Jones presents viewers with mere fragments of larger narratives, allowing us to consider whether he is telling a greater truth or a greater lie. Either way, the viewer is allowed entrance into the space of the image and that of the artist's thoughts and is free to complete their own story.