Color coupler print, flush-mounted on aluminum.
1996.
Typed credit, title, date and number on labels affixed to the reverse of the flush-mount.
Number one of an edition of one plus one artist's proof.
60 x 60in. (152.4 x 152.4cm.)
From Galerie Anne de Villepoix at FIAC in 1996.
in Frieze Magazine Jones says that the head of British Institute of Psychoanalysis spoke about:
how patients in the room often imagine the presence of a third person, and he suggested that the camera could be like this third eye; an onlooker, an audience. This then unfolded a whole way of photographing the couches, which developed into photographing the girls and the roses and the trees, and my relationship to photography. In psychoanalysis it is the existence of the analytic frame that makes possible the full development of that creative illusion that analysts call the transference: http://www.frieze.com/issue/article/still_life/
Today, Sarah Jones is represented by Maureen Paley: http://www.maureenpaley.com/artists/sarah-jones
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