Gary Jones began his work in bronze and resin sculpture in 1997. This was a new and shocking development in his career. He had always defined himself as a puppet artist.
In the fever to get the puppets on the stage the fact that he had sculpted hundreds of heads, hands, noses, ears, and of course lips was under the radar. Always the influence of the ballet was acknowledged in his work. People had always asked him if he was a dancer. And while he was fairly content with the expression he was able to achieve with the dancing puppets he felt still a need to do more. Hence his dance sculpture.
The tedious process of creating a bronze and its foundry expense delayed action until 1997. Success came fairly quickly and he has since become a collected sculptor with works held by among others, Tyra Banks, Damon Wayans and Dr. Wesley King. The limitations of working in bronze eventually led Jones to seek a process that he could control more personally. For him that meant his hands, and only his would initiate and finish the piece. Research brought his discovery of industrial resins but along with it challenges heretofore non existent with bronze. Needless to say, one look and it it apparent that whatever the problems were they are no more.
In the foundry furnace Gary sees a poetic compliment to the heat of performance. There is high risk involved in both processes. In these recent pieces Gary seeks to translate the exhilaration and mystery he experiences during his on stage appearances into metal. It is an attempt to crystallize the ethereal beauty of motion.
Dance, whether choreographed or extemporaneous is always fleeting. The one dancing realizes this as does the frustrated audience who longs to linger on the passing perfection he beholds. Needless to say, this is impossible. Even in today’s electronic world of instant replay; the initial shock of a heart stopping graceful gesture can never be authentically recaptured. Nonetheless the desire remains. Gary responds to this futile longing.
He knows that there is always something about a dance that can never be communicated, no matter the skill and artistry of the performer. That nameless internal ecstasy is known only from within as the dancer moves through space. This feeling is hidden even from the choreographer unless he dances the performance full-out personally. It is orgasmic and elusive. Rarely is it revealed on stage, seldom is it photographed or written about. Gary Jones has felt it, has known it. In these works he endeavors to share it with you.
All of the bronzes currently exhibited can be purchased directly from the artist. If you feel kindred with this work, Gary would love to hear from you.