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Sundial, 2008 © courtesy of the Artist and Fred [London] LTD

17 Riding House Street
London W1W 7DS
United Kingdom
October 18th, 2008 - November 16th, 2008
Opening: October 18th, 2008 3:30 PM - 8:30 PM

+44 (0)20 8981 2987
Tue-Fri 10-6, Sat 11-6 or by appointment


Please join us on SATURDAY, OCTOBER 18th for the Private View of Philip Jones' new solo show.

Early viewing / afternoon drinks: 3:30- 6:30 pm

Private View: 6:30 pm - 8:30 pm

FRED is delighted to announce Philip Jones’ second solo exhibition at FRED, Sundial, including new paintings, drawings and a sculptural installation. Since his last show at the gallery in May 2005, Jones has had solo shows in Leipzig and New York, with a current exhibition in Madrid. In this exhibition archetypal, symbolic figures suggest existential conditions of being. Objects and paintings share fluid and expressive painted surfaces.

The works in Sundial are loosely inspired by Theodor Fontane’s 1895 realist novel Effi Briest, and the 1974 film of the book by Rainer Werner Fassbinder, Fontane Effi Briest. Rather than a literal, direct response to the book or film, Jones draws on the inherent moods and motifs, using them within his work as poetic analogues for states of mind, emotional and existential conditions.

In the novel, the rules and constraints of society are contrasted with the forces of nature, the romantic ideal and personal passions. Fontane’s heroine is at odds with society and the book describes the pain caused to individuals by abstract ideas. Fontane’s factual narration produces a tone of tranquil fatalism, both humanistic and subversive; he shows the contingency and hypocrisy of social values. For Jones, the subjects and motifs of the novel reflect perennial truths about society. Resonating with his own experience, they act as a point of departure for the work.

In the major new work Besides the bands of shadow were white bands of light, Jones has expanded his painterly exploration in an installation that includes a painting, a life sized sculpture and painted objects. A sculpted woman is poised by a dressing table, beside a large painting of a golden magnolia tree laden with buds and opening flowers. In this work it is as if Jones’ painted world has been split apart, images found within his paintings are made concrete and divided into different elements across the gallery space. The work can be experienced as a journey from perception and imagination towards a transformation of objects through painting.

The title of the exhibition refers both to Effi Briest and the predominantly monochrome palette of the paintings and sculpture. Fontane pointedly describes light illuminating darkness and shadows contained in light, and an image of a sundial unites the beginning and end of the novel. Themes of transience, mortality and perception are summarised in the motif of a sundial, with its shadow moving through light. Besides the bands of shadow were white bands of light becomes a physical manifestation of these ideas, and a stage that allows the literal reconstruction of metaphor.