Russ Jones (b.1990) is a conceptual artist living and working in London, UK.

His practice explores the malleability of identity through freedom and control.

Painting

///colour.texture.light
How far can you move someone without symbology?

Magick, 2023
Oil on Linen
105.5x256.0cm

Magick (detail), 2023
Oil on Linen
105.5x256.0cm

Keep Going, 2022
Oil on Linen
91.2 x 91.2 cm

Purity, 2020
Oil on Linen
168.2 x 109.9 cm

Habibi, 2023
Oil on Linen
141.1 x 71.5 cm

Habibi, (detail) 2023
Oil on Linen
141.1 x 71.5 cm

Blossom, 2023
Oil on Linen
107.1 x 107.1 cm

Flow, 2021
Oil on Linen
157.4 x 206.0 cm

Satisfy, 2023
Oil on Linen
170.1 x 240.2 cm

Voyage, 2022
Oil on Linen
90.1 x 60.2 cm

Expect, 2022
Oil on Linen
105.1 x 105.1 cm

Eternity, 2022
Oil on Linen
145.1 x 165.2 cm

Tide, 2021
Oil on Linen
105.2 x 164.9 cm

Tree, 2021
Oil on Linen
105.2 x 164.9 cm

Sideways, 2021
Oil on Linen
124.3 x 124.3 cm

What more can be said by avoiding contemporary visual conditioning?

Performance

///intervention.subversion.choice
How malleable is a human identity?

Given the right conditions, what wouldn’t you do?

Conceptual

///objects.altered.questions
What does this mean to you?

Can symbols and objects be used to oppose their original purpose?

Muses (2024-)

///identity.painting.spiritual
Can identity be communciated through abstraction?

Habibi (2023)
Oil on Linen
140.5x70.8cm

Terpsichore (2024)
Oil on Linen
70x50cm

Lillith (2024)
Oil on Linen
110x70cm

Sirens (2024)
Oil on linen
50x40cm

Various
2024
Oil on Linen
Various

Exploring the relationship between muses and their presence within the collective unconscious. Each piece is created as an offering, guided by an idea and rituals from esoteric texts.
Assumption: Muses represent archetypes or deities from a particular vantage point in time and thought. By focusing on this connection throughout the creation process, the goal is to manifest a work that not only reflects my vision but also embodies these shared, symbolic representations.

Villain (2024 - )

///control.performance.research
how far will they go?

Exploration of memetic behaviour and identity when subjected to novel stimuli

Villian Pt. 7

///jump.game.incentive
11 August 2024
Will people conduct themsleves in extraordinary ways with simple incentives?

Villian Pt. 6

///compete.collaborate.win
13 July 2024
Will people compete to acquire items they desire?

A mirror painting is placed on the street
A box indicating with writing is placed in front of it “ Stand in Box @4pm to win prize)
Box is 500x500mm suitable for 1 person comfortably.

At 3:55 3 people are next to the mirror, 1 person is stood in box
at 3:57 multiple people are placing their feet in box
at 4pm a set of questions are delivered to those stood in box
Questions require particpants to share insights into their life
Participants decide who should win the prize between themselves

Villian Pt. 5

///Mirror.Need.Find
28-29 June 2024
How far will people move to acquire items they desire?

12 Mirrors with Vinyl Aphorisms are hidden around Chelsea, London to enable a digital and physical hunt of the objects

A female misses her train to look for them
A male individual collects 3, requests more to be put out
A female runs out of a show at the Saatchi gallery when her sister notifies her about it via social media
All Mirrors last no longer than 30minutes

Villian Pt. 4

///Mirror.Status.Share
22 June 2024
Can you reduce the cost of high status to zero?

A mirror carrying a VOGUE-esque header and aphorisms is left on the street

The mirror is engaged with by Females and Males, normally through the use of a camera phone
Some images are shared via social media
Some individuals test the Mirror for portability to retrieve it
A brother and sister attempt to take the mirror, they are intercepted and asked to return it
The interaction is difficult and they are confused during and after, they claim that it appears to be trash and free to take
The sentiment is echoed on social media

Villian Pt. 3

///Anger.Scars.Noise
25 May 2024
Will people convey Anger in public?

Villian Pt. 2

///Competition.Self.Chaos
11 May 2024
Will participants compete for status?

Note: First image shows “biggest” this was changed to “loudest” during install

Villian Pt. 1

///Board.Writing.Colour
4 May 2024
Do people respond to question prompts accompanied with resources to answer in a public setting?

Confessionals (2022 )

///control.performance.secrets
Who are we when we are alone?

Installation
New Bond Street, London
2400 x 2200 x 2400mm
Acrylic Marker and aerosol on Foam board and mirror and wall

Participants enter a converted changing room one at a time
There is a single prompt to contribute “A secret or a lie”
Installation is open 10am-6pm for 12 days

Camoflage (2022)

///identity.conceptual.nationality
Who benefits from War?

Aerosol, Sunflowers, Foliage, Salvaged Next generation Light Anti-tank Weapon, Marble
900 x 900 x 1800 mm

2014 - Russia Invades the Ukraine siezing Sevastopol
2021 - Russia invades Ukraine and declares war
2022 - UK sends Ukraine Aid in the form of arms deals
2022 - Ukraine uses anti tank munitions to halt Russian invasion
2022 - A used Anti Tank launcher is salvaged from the Ukrainian Front
2022 - The Launcher is brought back to the UK
2022 - Launcher is Camoflaged as a flower installation using Ukrainian National Colours and Flowers
2022 - Launcher is shown in converted Luxury retail store on New Bond Street, London

Homeless in Paris (2014)

///identity.conceptual.risk
What is the effect of becoming homeless in a global city?

Arrive at Kings Cross St Pancras on 08 December with:
- Socks
- Knickers
- Warm Coat
- Warm Hat
- 10 Euros
- Passport
- Blanket
- Notebook
- Pen or Pencil
- Backpack

Do not Bring:
- Phone
- Spare money
- Items not listed above

Collect Ticket from station using Code ******
Board the 1550 to Paris
Return ticket will be provided, ETD 22 Dec

No accomodation will be available throughout
No accomodation can be sought through request, coeercion or subversion
Begging is allowed but must be passive
Gifts can be accepted but never requested
Trade is allowed

___

2 participants take part in the performance
Paticipants attempt to increase value of money by purchasing and reselling art
Participants are unable to raise funds during the period
Participants attempt to abandon performance unsuccessfully
Participants are unable to find stable accomodation
Participants are unable to find stable sources of food and water
Participants return to UK without lasting physical harm

___

Counter man

Being outside is difficult.
But it gave me a space to see what I am really like.
As I board, I feel the crowd around me, “watch out”

I sit opposite,
They don’t sit next to me.
Nothing has to be said for me to understand what they are saying.

The train arrives at the platform,
We are all relieved that we are leaving.
I feel their gaze, but the grime on my skin protects me from their disgust.

I wait for them to leave,
Neither of us wants to risk a collision.
A mutual boundary I’ve learned, a position that has long become inflexible.

The station holds freedom,
A bag of goods, a previous life that has become so far away.
I long for the security of my little world, where my anonymity isn’t enforced by their avoidance.

He see’s me approach,
Tentativley peeling the ticket and passport from my gritty hands.
See sawing between avoiding our interaction and communicating his disdain at having to endure it.

“This isn’t yours”
“Yes, it is”
I want to be free of this life, I have a way out, and all that stands between us is the counter man, and his disgust.

The bag falls against the floor,
He reaches for a phone, a supervisor is needed.
A second set of eyes, one holding the bag, the other my ticket. My pockets are empty, my heart is broken.

The zip opens, the hands rummage
I am without power, I am without energy
“this isn’t yours, you need to prove it” “prove what?”

Being outside is difficult.
But it gave me a space to see what you are really like.
As I take the bag back, I feel the crowd around me, “watch out”.

hathi (2024)

///identity.painting.memory
Do materials carry memories?

Hathi
2024
Elephant Ivory (~1770), Linseed oil on Scottish Ecru Linen
400x300mm

Antique Ivory Piano Keys are sourced and burned in a furnace to 670-690C.
Residue is crushed into a fine powder to make pigment.
Pigment is applied and shaped using a binder of linseed oil and beeswax.

as above, so below

///identity.painting.training
Why do older soldiers have shinier boots?

As Above, So Below
2024
Shoe Polish, Paper
210x150mm

Shoe polish is applied until a mirror finish is achieved to 240gsm watercolour paper

Funerals

rabbit (2024)

///identity.painting.memory
Do materials carry memories?

Rabbit
2024
Rabbit bone, Linseed oil on Scottish Ecru Linen
400x300mm

Rabbit bones are sourced and burned in a furnace to 670-690C.
Residue is crushed into a fine powder to make pigment.
Pigment is applied and shaped using a binder of linseed oil and beeswax.

Purple Series (2024)

///identity.painting.research
Why do we perceive purple as high value?

Furl
2024
Oil on linen
700x500mm

Exploration and research into sourcing and application of all known violet and purple pigments available today.

Solo Adventurers (2023)

///identity.painting.risk
Why do we seek adventure?

Joshua
Oil on Board
600 x 600m

Suhaili
Oil on Board
900 x 900m

Voyage
Oil on Board
600 x 600m

In 1968 The Sunday Times created the Inaugural Golden Globe Yacht Race through a surprise press release.
It is the world's first solo, non-stop, round-the-world yacht race.
Two victors will be celebrated: First to return to port after departure from day of release, and fastest port to port voyage.
Nine sailors accept the challenge and depart from various UK ports.
Only one sailor completes the challenge.
Donald Crowhurst, aboard Teignmouth Electron, fabricates his voyage progress and commits suicide enroute.
Sir Robin Knox-Johnston, aboard Suhaili, becomes the sole finisher after 312 days at sea, he is Knighted by the queen on arrival.
Bernard Moitessier, aboard Joshua, able to return with the fastest voyage chooses to forsake the race and continue sailing, he returns to dry land months later in South America.

Pigments created with ultramarine and cobalt drenched in sea water
Board is created from used boat yard birch plywood

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