Katherine Jones: Newly Appointed Royal Academician
News: May 2022
We are delighted to celebrate the election of Katherine Jones as a Royal Academician. This prestigious accolade recognises her contribution to printmaking as an artist and teacher. She will become one of the youngest Royal Academicians to be elected and take her place alongside fifteen other RA printmakers and engravers.
How did Katherine become and RA?
To be elected as a Royal Academician you must first by nominated by an existing Academician, who writes their name in the weighty Nominations Book. Signatures must then be elicited from eight other RAs in support of the nomination. At this stage the nominee becomes a candidate. All the Academicians meet at a General Assembly to vote in new Members from the list of candidates. Vacancies are only created when an RA reaches the age of 75 and becomes a Senior Academician or on the death of an RA. The Academy Laws specify that there can be up to a maximum of 100 Royal Academicians at any one time, so there are usually only one or two new members voted in each year.
In this feature, we’ll look at the celebrated career of Katherine Jones from her most recent body of work, ‘The Iron in the Earth’, to her earlier series of works on paper.
The Iron in the Earth: 2020 - 2021
Katherine Jones – High and Tipping. Collagraph and Block print on paper, 74 x 96 cm, Edition 15, 2020.
A patch of earth holds the promise of growth and renewal. High and Tipping by Katherine Jones is drawn directly from the artist’s allotment onto mount board and printed in vivd colour. Retaining spontaneity, it refers to the closing days of July where the plants begin to tip after a long summer month. This original work on paper has recently been donated to the Pallant House Gallery permanent Print Collection.
Katherine Jones – A Temporary Pause. Collagraph and Block print on paper, 73.5 x 107 cm, Edition 15, 2020.
Inspired and immortalising by her grandmother’s Dutch heritage, A Temporary Pause depicts a range of images of tulips from different angles, interpretations, diagrams and impressions.
Katherine Jones – Chalk Marks on Water. Collagraph and block print on paper. 76 x 106 cms, 2020. Edition Variable 15
This print is inspired by the fleetingness of marigolds at the height of their bloom, the name taken from New Zeland film director Jane Campion’s An Angel at My Table (1990). View full catalogue from ‘The Iron in the Earth’ exhibition below:
Katherine Jones: “How Was It Made? Etching”
Short Film | Printing Technique for the Victoria & Albert Museum
This film was commissioned by the V&A for their series ‘How Was it Made’. A series of short films giving an overview of the techniques used by artists and artisans working in a range of media.
The film is beautifully made by Marissa Keating, filmed by Michael Jones with music by Derek O Neill.
IN ASSOCIATION WITH THE V&A: 2022
Katherine Jones – Untitled (V&A pansy) No.2. Hard-ground, aquatint and hand colour on 300gsm Somerset paper. Paper size 30.5 x 26cm image size 16 x 12cm.
Katherine Jones – Untitled (V&A pansy) No.5. Hard-ground, aquatint and hand colour on 300gsm Somerset paper. Paper size 30.5 x 26cm image size 16 x 12cm.
Katherine Jones – Untitled (V&A pansy) No.6. Hard-ground, aquatint and hand colour on 300gsm Somerset paper. Paper size 30.5 x 26cm image size 16 x 12cm.
Katherine Jones: The Precious Hours
Words by Fiona Robinson, 2018
The precious hours
Katherine Jones – The Precious Hours
Collagraph and block print on paper, 92 x 71 cm, Edition of 25
Katherine Jones – The Precious Hours – Cloud Mass II
Collagraph and block print on paper, 92 x 71 cm, Edition 25
Katherine Jones – The Precious Hours – Cloud Mass I
Collagraph and block print on paper, 85 x 74 cm, Edition of 25
Katherine Jones – The Wet and The Dry
Collagraph and block print, 73.5 x 87 cm, Edition 25.
Image: Katherine Jones in her Brixton studio. Image credit Katherine Jones RA (Elect) b1979. Photography Josephine Dixon.
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