With fervid capacity, it describes the innate irony that gives Allen Jones his reputation, giving life to these paintings through a sensual and permeated atmosphere through the use of images showing impudent intimacy. The inspired musicians seduced by attractive dancers as they muse over their long legs, the conjurers that transport their partner in a state of suspension, the public described in a fragmentary manner, the curtains, the painted backgrounds, the infinite catwalks act as the actors and the elements of the show that evoke surprise on the stage through a Dionysian explosion of color.
Allen Jones therefore conceives the paintings as a performance and the cloth like a stage, a pictorial “device” inside which lives a background of landscape that mimics the property of his favorite artists: Matisse, Mirò, Picasso, Delaunay.
Decisive factors in the aesthetic equation of his paintings is constituted through the indispensable public presence because the paintings can be resolved.
These lively, vibrant, and dreamlike productions represent the key situations of great obsession for the dynamic of creative actions that the British artist, in all of his work, demonstrates through the metaphor of the sexual union between the man and the woman. From 1999, the year in which began the cycle The Magicians, the attention became concentrated on the capacity of the artistic generation of magic and the illusion that “those ephemeral territories, evoked on the stage of his paintings, hint at the power of the imagination and of the artistic sight in creating world parallels” (Blinda Grace Gardner, will in catalog). In this work Jones confronts implicitly the important questions of our human existence without actually specifying them and places caution on the creative energy that he considers the quintessential of life and of art.
The work of the artist takes the magical capacity of love that unites the contrary and makes itself into something new. The goddess of love and of beauty, Aphrodite on the catwalk, is central to the aesthetic concept of Jones, and even if the image of Venus that appears to us in his paintings is more closely related to the universe of the theatre, of the nightclubs, and with the variety shows that encompasses the impact on the artist, which is nothing but deep.
Allen Jones therefore conceives the paintings as a performance and the cloth like a stage, a pictorial “device” inside which lives a background of landscape that mimics the property of his favorite artists: Matisse, Mirò, Picasso, Delaunay.
Decisive factors in the aesthetic equation of his paintings is constituted through the indispensable public presence because the paintings can be resolved.
These lively, vibrant, and dreamlike productions represent the key situations of great obsession for the dynamic of creative actions that the British artist, in all of his work, demonstrates through the metaphor of the sexual union between the man and the woman. From 1999, the year in which began the cycle The Magicians, the attention became concentrated on the capacity of the artistic generation of magic and the illusion that “those ephemeral territories, evoked on the stage of his paintings, hint at the power of the imagination and of the artistic sight in creating world parallels” (Blinda Grace Gardner, will in catalog). In this work Jones confronts implicitly the important questions of our human existence without actually specifying them and places caution on the creative energy that he considers the quintessential of life and of art.
The work of the artist takes the magical capacity of love that unites the contrary and makes itself into something new. The goddess of love and of beauty, Aphrodite on the catwalk, is central to the aesthetic concept of Jones, and even if the image of Venus that appears to us in his paintings is more closely related to the universe of the theatre, of the nightclubs, and with the variety shows that encompasses the impact on the artist, which is nothing but deep.
