Sarah Jones

Jones first gained notice in the late 1990s for her photographs taken in psychoanalysts' consulting rooms. Her later studies of adolescent girls uncomfortably caught in the flash of the camera in domestic settings draw attention to the staged relationship between model, photographer and location. Recent diptychs of horses and rose bushes refer to the viewing of early stereographic prints and explore the potential for photography to reveal uncanny perspectives on a subject. In 'The Rose Gardens' series, Jones photographs the front and back of rose bushes in public gardens so that viewers can contemplate both viewpoints simultaneously. This book brings together work from a 15-year period, including many photographs never previously published, and looks at the themes and concerns that have remained constants in her work. The sequence of images chosen and arranged by the artist is informed by Jones' interest in how we see and represent her chosen subjects, using tropes from the stereograph, the double, the still life and portraiture.