Ella Jones

Ella Jones

I am a Fine Art student at Cardiff School of Art and Design, Cardiff Metropolitan University and am currently in my final year. Researching the manipulation of material and form, my practice investigates themes such as abstracting nature, found and collected objects. I explore the curiosity of touch creating sculptures that entice playfulness and interaction. This is projected within the use of textures, material, colour and display. Being a multidisciplinary artist working with printmaking and sculpture allows me to investigate the forms I create in 2D and 3D dimensions both influencing my practice and together shaping the structures and forms in my work.

I’m originally from North Wales, where I live in a small village called Llanbedrog. My first language is Welsh, and I have a keen interest in contemporary art. This influences my sculpture and printmaking practice daily.

Latest Posts

20.10.2017 / What is a Sculpture?  →

When making artwork I always have control over what I create to an extent, unless I give my artwork to someone else to make, then they become the artist. Any decision is a control. To limit my power to an extent, I could ask questions to others about there thoughts of sculpture, to create an artwork that I may not have imagined. The answers I receive will constrict and guide what I make. To avoid making a familiar piece of work, I won't ask questions such as “What is the sculpture made of? “ or “What is the subject?” This avoids a predetermined image of a sculpture e.g made of marble, bronze ... / subject of a figure, bust, statue. Instead I’ll ask what it is to be a sculpture e.g What is a sculpture usually not made of? By doing this I can create pieces that push the concept of what it means to be a sculpture. Possible questions: What material is a sculpture usually not made from? Can a sculpture have a function? What is not a usual subject of a sculpture? What colour is the sculpture? What does the sculpture contain? What does the sculpture feel like? What size is it? How is it held together? What tools were used to construct it?  

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19.10.2017 / Favourite Artworks  →

Tehching Hsieh’s piece Doing Time at the Taiwan Pavilion was one of the most astonishing artworks at the 57th Biennale. His yearlong performances began in the late 1970s and early 1980s. His dedication to his practice is remarkable especially because of the physical and mental extremes he endures. His performance Time Clock Piece continued from 1980-1981 in this year he clocked in on a workers time clock on the hour, every hour for a year. To document this project he took a photo next to the clock each time wearing the same outfit beginning the project with a shaven head and finishing with a thick head of hair. Each detail of the exhibition documents his journey with the punched workers paper along side the day of photos, there’s a film displaying a time laps of the photos of the year next to the workers puncher. His performance Outdoor Piece began the following year 1981-1982 this consisted of him staying outside for a year without taking shelter in any buildings. With this piece he precisely noted on maps his rotes to eat, sleep and even defecate. This self-inflicted pain is incredible his work exhibits self-discipline and the physical and mental strength of the human body. His work investigates the themes of time, duration, control and freedom. The work I enjoyed the most at the Giardini was Erwin Wurm’s One minute Sculptures at the Austrian Pavilion. Similar to Tehching Hsieh this work explores themes of time based medium and control, because each sculpture gave instructions illustrating how to complete the sculptures allowing the visitors to interact and become apart of the work. Although the timeframe of both artworks are opposite similar themes apply which I find interesting. Erwin Worm’s work questions what it means to be a sculpture and also the functionality of these daily objects that have been made into the non-functional. The pieces are ironic and humorous. They’re very playful to interact with and the artist is questioning who is the artist, and how the visitors have become unknown artists contributing to the artwork. I’m intrigued by this notion of control over my practice. As an artist that has just graduated from fine art I’m intrigued how my practice will be changed by the limited facilities I now have available to me. I have always worked freely creating work that’s personal displaying themes of my own thoughts and feelings. It could be interesting to possibly relinquish myself from this freedom, by limiting myself to create sculptures based on the opinions of other artists. I could make a questionnaire that could govern my creations. Asking such question as: What is the sculpture made from? What size is it? What is the subject? These new limitations will help me think outside the box, and to make artwork that displays how other people perceive sculpture, rather than how I do.  

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I have a keen interest in documenting, therefore whilst I’m in Venice I intend to record my time there by filming, taking photographs and collecting objects and receipts from my travel to perhaps print on to or work from. I intend to work from the pieces and artwork I see in the Biennale; from the structures and forms that inspire me. It will be interesting to see the architecture of the city - the textures and surfaces of the buildings. Tactility and touch is a big part of my practice and I intend to keep investigating and exploring this in my work.

I’m excited to invigilate James Richards’ exhibition for Wales in Venice. I’m also interested to see Phyllida Barlow’s sculptural work in the British Pavilion, her colossal sculptures are thought provoking and consuming and I can’t wait to see her work in person. I’m interested in seeing the work of the artist Mark Bradford who is representing America in the Biennale. I admire his abstracted work using collage and painting and the relation his work has to daily life. For example, his piece White Painting (2009) contains posters and papers from billboards. His expressive sanding, ripping, layering and textures in his work intrigue me. I am also looking forward to seeing a wide variety of artwork in the Biennale and in Venice. I’m eager to explore the city and discover different cultures and see the beautiful sites the city offers.