Alex Boyd Jones - Artist
Increasingly in my practice, I find myself drawn to the notion of a ‘sense of place’ whereby my personal physical experiences alongside the more metaphorical aspects take me on a journey of discovery. Whether I’m walking on a forestry path, stepping past the threshold of an old barn or immersed in between the lines of a novel, something will prick my attention - a trigger that sets in motion a desire to probe and articulate my particular view of that reality. Common threads emerge around connection, memory and loss.
These lines of thought are brought out through the act of drawing. My starting point is almost always in this process, its presence having been a constant element since childhood. I enjoy the immediacy of it, the way it absorbs me and the physical connections I have when using various media on different papers and other surfaces. As I immerse myself in the processes of applying and editing marks, different aspects reveal themselves and deeper meanings and connections unfold. Our connection to a place is internal and deeply personal but I hope that through my work I can offer a space that creates a wider resonance on a multitude of levels.
Charcoal and graphite are my go-to; the physical traits and versatility I find compelling. The connection with the natural world (both being carbon-based), and human intervention in the process of production feels relevant. I work mostly with willow charcoal in a range of thicknesses; also compressed charcoal, charcoal powder, charcoal pencils and conté, graphite sticks, water-soluble graphite and pencil. The applications vary enormously too but my approach usually follows a lengthy addition and removal process. Sometimes, I apply a gesso ground to the paper to create a ‘bite’ to the work while other times seek the softness that a high quality watercolour paper affords. Different rags are used to rub away and apply tone, blending is often with the fingers too but I also use blending stumps (tortillon), and cotton buds. I use putty rubbers and regular soft and firm erasers, often cutting slices off to create precise removal (which can be immensely satisfying). The way that I approach making work in this way is akin to how I paint also: layers are built, erased and re-applied in a variety of ways but often quite organically and intuitively.
I usually work from my own photographs but also from direct studies or notes where elements have been committed to memory but I also refer to other material such as archival images and writing. Quite recently, my research is taking me into explorations around cultural geography, phenomenology and solastalgia all of which are areas of focus that are emerging as little fizzing light bulbs in my creative journey.
Working as a full time artist is fairly recent. Since 2020 I have been progressing my practice, while also mentoring other artists and supporting creative projects. Before this time, I had a wonderful full time career working as a Curator for 20 years in a number of public art galleries across the UK where I worked with contemporary artists from all over the world as well as curating historical art collections. I have a BA (|Hons) Fine Art degree, DeMontfort University (1996) and MA in Museum Studies, Leicester University (1998).
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