Erin Lee Jones, Water Bells (Ode to J.P.), 2021, Hydrocal, fabric, paper pulp, rubber, acrylic., 99 x 58.cm
Erin Lee Jones, Morning Star, 2021, Hydrocal, fabric, paper pulp, rubber, acrylic., 90.2 x 59.7 cm
Erin Lee Jones, The Messenger, 2019, Hydrocal, fabric, aluminum foil, rubber, burlap, acrylic., 98 x 53.3 cm
Erin Lee Jones, The Guardian, 2021, Hydrocal, fabric, aluminum foil, rubber, burlap, acrylic.,
Erin Lee Jones, She- Wolf Hybrid Putting life Back into the Ocean, , Hydrocal, fabric, aluminum foil, rubber, burlap, acrylic., 80 x 97.1 cm
Erin Lee Jones, River God, 2021, Hydrocal, fabric, paper pulp, rubber, acrylic., 101 x 67 cm
Erin Lee Jones’ latest exhibition invites us to reflect on a unique creative process capable of transporting the viewer into a heightened state of self-questioning. A whimsical body of work into which shared elements of the artist’s psyche have been woven to create otherworldly identities – each, almost magically imbued with its own seemingly urgent personal message.
The artist describes her work as a “Frankenstein of sorts”. Indeed, mashing and collaging together imagery, disciplines and processes - molding a new whole from the snippets and fragments brings to life these new, awkward characters.
Most often considered paintings. Erin’s creations stem from a deep love of drawing and sculpture. Working in reverse on a flat surface, first ‘drawing’ and sculpting with different media, and then casting each piece in hydrocal. It is during this multi-step process – vicious, messy – that some elements are lost while others are gained. The final result reveals many unexpected surprises embedded and ‘caught’ in the alchemy of casting – magical, serendipitous things happen as all the individual parts embrace the whole.
Most works begin as sketches, drawings, or collages. The graphic imagery is inspired by cartoons, illuminated manuscripts, and Renaissance fresco preparatory drawings. The drawings come in a very intuitive fashion and are packed with visionary weirdness - from bell ringing ostriches with breasts to reptilian prophets, all heavily imbued with a salmagundi of symbolism, a hefty dose of personal DNA and a gallimaufry of humour that undoubtedly finds expression in the final works.
These portraits are fossil-like, eccentric figures fully expressing a whole gamut of human emotions; anxious grins, blank stares, smirks, goofiness - they are frank, quirky and urgent. And while they sometimes lean toward archetype or allegory, they resist any specific interpretation - they are more like a riddle or a tarot card. There is a seeing to all these pieces, they are soothsayers, prophets, guardians and messengers to these times.