Lisa Jones

Lisa Jones is based in Sydney, Australia whose work explores drawing, sculpture and video. Jones studied at Goldsmiths, University of London and Wimbledon School of Art before completing an MFA from the University of Newcastle-upon-Tyne and an MVA from Sydney College of the Arts.

Jones has exhibited nationally and internationally in solo and collaborative project based shows in institutional spaces, artist run initiatives and commercial galleries. Jones has been a finalist in the ABN AMRO Emerging Artist Award, Adelaide Perry Prize for Drawing, and Hazelhurst Art on Paper Award. Her works have been acquired by Art-bank, Macquarie University Art Gallery, and the Jacaranda Acquisitive Drawing Prize. Recent exhibition include the National Art School, Port Macquarie Hastings Regional Gallery, Artspace Mackay, May Space, Sydney and Drawings Projects (UK). Jones’ work is in the collection private collections in Australia and Britain. Grants and awards include: an Australia Council for the Arts Emerging Artist New Works Grant, 2008; Copyright Agency CREATE Grant (for the project WAITING in collaboration with artist Julia Davis), 2018, and; also in collaboration with Julia Davis the Onslow Storrier Residency, Paris (The National Art School), 2020. Jones is currently em-ployed as a sessional lecturer at the National Art School and as Gallery Coordinator at the Grace Cossington Smith Gallery. From 2005-13 she was a director of the artist-run-initiative, Peloton.

Residual Otherworld are the result of an experimental, sculptural approach to drawing. The underlying exploration of the mate-riality of drawing marries historic interpretations of global identity with contemporary, local and personal experience.

The works begin as two-dimensional pencil drawings on paper, layered with cut-outs and collaged onto papi-er-mâché spheres. The drawings render wanderings, markings and observations of the artist’s everyday journey-ing and global travels. The spherical creations evolve into globes – evoking the ‘pocket globes’ popular during the age of Enlightenment in Britain which rendered the evolving cartographic understanding of the world. Residual Otherworld also references formalist sculpture in which the base is considered an essential component and the work can be reduced to a simple cube and sphere.

The completed papier-mâché globes are cast in bronze using the lost-wax process through which the original 2D paper amalgams burn away leaving the art works as a permanent spherical imprints.

The original drawings interpreting the artist’s journeys no longer exist. Yet their essence is captured, much like the historic understanding of our world through the ages, as a ghostly presence within the metal and stone of their new materialisation.