PHILIPPA JONES – The Expanded Place

Sep 9—Oct 1, 2016

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  • Cloud cartography

    Watercolour, ink on arches paper, 41.25” x 29.375”, 2016

  • All points lead nowhere everywhere

    Watercolour, ink on arches paper, 44” x 32.5”, 2016

  • You have to be on the edge to see the beauty within

    Watercolour, ink on archival paper, 26.25” x 18.5”, 2016

  • Philippa Jones - Land forming geyser clouds arise

    Watercolour, ink on archival paper, 26.125” x 18.625”, 2016

  • Philippa Jones, Light obscures the without to white

    Watercolour, ink on archival paper, 26.25” x 18.5”, 2016

  • Nothing ventured nothing gained

    Watercolour, ink on archival paper, 28” x 19.5” , 2016

  • Night sky is illuminated by time frozen life

    Watercolour, ink on Fabriano paper, 39.375” x 27.975” , 2016

  • Aurora terra

    Watercolour, ink on Fabriano paper, 31.5” x 23.25”, 2016

  • This one pinnacle of intersection permits entry to the core

    Watercolour, ink on Fabriano paper, 42” x 29.5”, 2016

  • Upon the murmurations axis we turn

    Watercolour, ink on arches paper, 40” x 31” , 2016

  • Philippa Jones, Every moment is a life and death scenario

    Watercolour, india ink on archival paper
    40" x 31"
    2016

  • Philippa Jones, Gossamer threads of light and time

    Oil Paint, Acrylic paint, ink, and epoxy resin on panel, 17.5" x 17.5", 2016

  • Philippa Jones, Growing inside the within without

    Oil Paint, Acrylic paint, ink, velum and epoxy resin on panel, 11.625" x 11.625", 2016

  • Cave of static time deposits

    Oil Paint, Acrylic paint, ink, velum and epoxy resin on panel, 9.5" x 9.5", 2016

  • Rays on sunlight become material beams here.

    Oil Paint, Acrylic paint, ink, velum and epoxy resin on panel, 9.5" × 9.5", 2016

  • Between the layers of time and space I can see it

    Oil Paint, Acrylic paint, ink, and epoxy resin on panel, 11.5” × 9.5”, 2016

  • Specimens documenting the effect of slow time emtombment on life 1

    Oil Paint, Acrylic paint, ink, and epoxy resin on panel, 11.5” x 9.5”, 2016

  • Specimens documenting the effect of slow time emtombment on life 2

    Oil Paint, Acrylic paint, ink, and epoxy resin on panel, 11.5” x 9.5”, 2016

  • Specimens documenting the effect of slow time emtombment on life 3

    Oil Paint, Acrylic paint, ink, and epoxy resin on panel, 11.5” x 9.5”, 2016

  • Specimens documenting the effect of slow time emtombment on life 4

    Oil Paint, Acrylic paint, ink, and epoxy resin on panel, 11.5” x 9.5”, 2016

  • Specimens documenting the effect of slow time emtombment on life 5

    Oil Paint, Acrylic paint, ink, and epoxy resin on panel, 11.5” x 9.5”, 2016

  • Specimens documenting the effect of slow time emtombment on life 6

    Oil Paint, Acrylic paint, ink, and epoxy resin on panel, 11.5” x 9.5”, 2016

  • Specimens documenting the effect of slow time emtombment on life 7

    Oil Paint, Acrylic paint, ink, and epoxy resin on panel, 11.5” x 9.5”, 2016

  • Specimens documenting the effect of slow time emtombment on life 8

  • A Hare’s Breath in Time

    resin, ceramic
    12” x 4.5” x 8”
    2016

  • The Expanded Place

    Watercolour and ink on Fabriano paper mounted on birch mounted on merranti
    96" x 144"
    2016

  • The Expanded Place (Installation Image)

    Watercolour and ink on Fabriano paper mounted on birch mounted on merranti
    96" x 144"
    2016

  • The expanded place (detail)

    Watercolour and ink on Fabriano paper mounted on birch mounted on merranti.

  • The expanded place (detail)

    Watercolour and ink on Fabriano paper mounted on birch mounted on merranti.


In 2001 I inherited a trunk from my Great Aunt ‘Tante Thea’. Born in Holland, surviving her teenage years during WWII, Thea studied Science in England. Her speciality was the burgeoning field of Quantum Mechanics. Restricted by sexism and finances Thea abandoned her academic study and became a wife and mother. Her lab partner Dr. Stuart Greenhalgh remained in close contact with Thea, writing to her regularly. These letters were part of my inheritance. I found them folded in a wooden box in the bottom of the trunk along with his field notebook from an expedition to an area he referred to only as ‘The Expanded Place’. Photography did not work in this area so Dr. Stuart Greenhalgh created detailed drawn observations.

Fascinated by Greenhalgh’s unpublished discoveries Philippa Jones further researched ‘The Expanded Place’ through MIRIAD. Leading expeditions to MIRIAD Island in 2012/13. In this exhibition the observations of Dr. Greenhalgh’s are finally revealed in works inspired by his specimen collections and journal.

Jones has created an epic painting, its dimensions so large it breaks away from a frame, this is no window into a place or a detail hinting at a vaster, unseen landscape. This is an immersive work, a whole encompassing world. You stand at its edge, ready to venture in.