Professor Christopher Jones
Professor of Fine Art Practice & Fine Art Senior Tutor
- Email: firstname.lastname@example.org
- Telephone: +44 (0) 191 208 6046
- Personal Website: http://www.chrisjonesweb.com
- Address: Fine Art
School of Arts & Cultures
University of Newcastle
Christopher Jones works within, across and between painting, printmaking and collage. His studio practice reflects an interest in the 'expanded field' of painting: where the discipline-specific characteristics of painting are dissolved and combined with those more typical of sculptural, printmaking or installation practices.
His recent practice has been concerned with establishing visual equivalents to the relationship between site, memory and the passing of time. His current work brings together investigation of site, assemblage construction and "unmonumental" form: work characterised by small scale, rudimentary material and understatement.
Solo exhibitions of his work have been held in the UK, and in Australia, Germany, Japan, Korea, Norway and Slovakia. Group projects over the past twenty years have been developed within the context of a dialogue with an informal network of artists from across Europe and beyond who are interested in artist-led international exchange.
Chris studied at Newcastle University and Chelsea School of Art, London and was a Monbusho Scholar at Kyoto University from 1987-89.
Before joining Newcastle University he was Fine Art Fellow at Cheltenham School of Art, GlosCAT, resident artist at the School of Art in Hull and an associate visiting lecturer at Sunderland University. He has also taught as a visiting artist at Coventry University; Nottingham University; Fachochschule, SchwäbischHall and the Kunstseminar, Metzingen, Germany; SangMyung University and Seoul National University, Korea; Trivandrum College of Art, Delhi College of Art and Madras College of Art, India.
Roles & responsibilities
- Fine Art Senior Tutor coordinating personal tutoring and PEC.
- Chair of the Fine Art Teaching & Learning Committee, member of Staff Student Committee and BA & MFA Boards of Studies and Exam Boards.
- Coordinator of the Final Year undergraduate studio programme.
Chris is also currently external examiner for MA Fine Art at Norwich University of the Arts, and previously for MA Art & Design at Wolverhampton University. He was the external academic member of the revalidation panel for the BA Fine Art programme at Chelsea College of Art in 2014 and the external academic advisor for the review and revalidation of undergraduate Fine Art programmes at AUT, Auckland, New Zealand in 2011.
Current & Recent Research Interests
Christopher Jones's current research practice centres on a number of inter-related interests: sites of change as a means to explore themes of erasure, trace and memory; and notions of the "unmonumental". Whilst the interest in change and its links to models of time and memory have been at the centre of his practice since the 1990's, his interest in the unmonumental is more recent. This has been explored most recently through intimately-scaled assemblages made in response to, and installed in, historically-charged architectural spaces.
Research is realised through the development of an on-going body of artwork that also reflects an interest in working across a range of media and technical processes: painting, printmaking, photography, collage and assemblage.
A series of artist's residencies, 2011-13, focused on site and location as a vehicle to explore the interests outlined above. The first responded to the particular history and architectural remains of the heritage site at Hill End, New South Wales, Australia, and resulted in a series of miniature "souvenir" paintings and photomontages. In the second, at the Bundanon Trust, also in New South Wales, a series of intimately-scaled constructions were developed that combined found material with photography. Two subsequent residency placements in 2013 brought these strands together in the form of two series of small, wall-based constructions: one installed in a 100 year-old traditional rice grain store in rural Kyushu, Japan and the other developed for the historic city-centre paper silo of Drammen, Norway.
- Supervised Dr. Chun-Chao Chiu's practice-based Ph.D. research which considered the potential of eastern aesthetics to direct a contemporary installation practice.
- Supervised the initial stage of Dr. Maarten Vanvolsem's studio-based investigation of the potential of the still photograph to record time-span (completed at University of Leuven, Belgium).
- Co-supervised Matt Smith's exploration of the relationship between memory, repetition and forms of both video and still photography.
- Second supervisor of Jason Dee's practice-based research into presence and absence in celluloid cinema.
Currently principal supervisor of painter James Quin's inquiry into visual echolalia and the potential of the use of repetition in the handmade image, Kate Stobbart's exploration of empathetic frameworks that link medical and fine art practices, and Harriet Sutcliffe's practice-based response to the Basic Design course at Newcastle in the 1960's.
2013 - UnionScene, Drammen, Norway
- Studio Kura, Fukuoka, Japan
2011 - Bundanon Trust, NSW, Australia
- Hill End, NSW, Australia
2007 - SangMyung University, Korea
2006 - Kyoto Arts Centre, Japan
1994 - Openshaw Printmaking Residency, Lowick House, Cumbria
1986/7 - Artist-in-Residence, School of Fine Art, Hull
1983/4 - Fine Art Fellow, School of Art, Glos CAT, Cheltenham
2011 - Hill End Residency award (BRAG & Arts NSW)
2008 - Daiwa Foundation Small Grant
2007 - Northern Print Bursary
- Asem Duo Fellowship
2006 - Arts & Humanities Research Council Award
- Arts Council England Grant for the Arts (Individual)
2004 - Arts Council England Grant for the Arts (Individual)
1997 - Rootstein Hopkins Foundation Award
1998 - Northern Arts Award
1996 - Northern Print Award
1995 - British Council Visitorship
1994 - Openshaw Printmaking Residency Award
1987-9 - Monbusho Scholarship to Japan
1984 - Boise Scholarship to Spain
Selected solo exhibitions
2013 - Unmonumental: For the Silo 2, Siloen, Union Scene, Drammen, Norway
- For the Silo, Studio Kura, Fukuoka, Japan
- Between the Hour & the Age, BRAG, Bathurst, & Jean Bellette Gallery, Hill End, Australia
2008 - In-Between, Daiwa Foundation, London
2007 - Erasure, Woosukhall Art gallery, Seoul National University, Korea
- Trace-Retrace 2, Northern Print, Newcastle upon Tyne
2006 - Residue, Art Space A1, Nagoya, Japan
- Trace-Retrace, Kyoto Arts Centre, Japan
2004 - Postscript, Kunstverein Galerie Am Markt, SchwäbischHall, Germany
2000 - Index, Galleria Z, Bratislava, Slovakia
1998 - Spuren-Traces, Kunsthalle Servas, Rodalben, Germany
1995 - Paintings & Collages, EPO Gallery, Munich
1994 - Difficult Rhymes, Turnpike Gallery, Leigh
1992 - The Small Hours, Hatton Gallery, Newcastle upon Tyne
- From A Foreign Window, Reg Vardy Arts Foundation, Sunderland
1990 - Frozen by Distance, Lanchester Gallery, Coventry
1989 - Tanaka Gallery, Osaka, Japan
- Tamura Gallery, Tokyo, Japan
Teaches into all year stages of the B.A. Fine Art studio programme.
Teaches into the Master of Fine Art programme.
- Pollock VL, Alden S, Jones C, Wilkinson B. Open Studios is the beginning of a conversation: Creating critical and reflective learners through innovative feedback and assessment in Fine Art. Art, Design and Communication in Higher Education 2015, 14(1), 39-56.
- Jones C. Between the Hour and the Age. 20 miniature oil paintings on metal plate and 20 miniature photomontages which develop models for the visualization of memorial trace in response to the heritage site of Hill End. 2013. Bathurst, New South Wales, Australia: Bathurst Regional Art Gallery.
- Jones C. UNMONUMENTAL. A body of small-scale constructions formed from photographic and found material. The thread of this body of work is the development of a model of site-dependent assemblage practice founded on the examination of and response to site through formal understatement. 2013. New South Wales, Australia.
- Jones C. In-Between. A body of print assemblages which explores combinations of traditional and digital printmaking processes in order to develop visual equivalents for temporal flux and change. 2008. Daiwa Anglo Japanese Foundation, London, UK: Japan House Gallery, 12.
- Jones C. Erasure, two linked solo exhibitions in Japan and South Korea. 2007. Nagoya, Japan 9-14 May 2006; Seoul National University, Korea 18-23 June 2007: Art Space A1; Gallery Woosukhall, 35.
- Jones C. Trace-Retrace: a body of reproducible collages with reference to time, place and memory. 2006. Kyoto 30 April - 28 May 2006; Newcastle 10 May - 1 July 2007: Art Centre’s North Gallery; Northern Print, 11.
- Burton A, Jones C, Mulhern S. Evidence: James Quinn and Bernadette O Toole. Newcastle upon Tyne: Red Box Gallery, 2005. .
- Bowen S, Jones C. 'Lull' for 'JMNEWVIEWS: A Contemporary Response to the Life and Work of John Martin'. 2004. Haydon Bridge, Northumberland: Chapel building, 1.
- Jones C. Postscript; collage as an ‘energy stack’. 2004. Germany: Galerie am Markt, Schwäbisch Hall, 25.
- Jones CD. Gravity. Woodlands Art Gallery, London, 11 2000.
- Jones C. Index: Solo Exhibition. 2000. Bratislava, Slovakia: Galleria Z, 80.
- Jones C. Spuren-Traces: Solo Exhibition. 1998. Rodalben, Germany: Kunsthalle Servas.