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• MA Printmaking Royal College of Art [2001-03]
• Fine Art Graduate. Falmouth College of Arts [1997 – 2000]
• Post Compulsory Certificate in Education. Greenwich Maritime University [2007 – 2008]

• Tutor London College of Communication Graphic Design Foundation and CMP Diploma in Image Production
• Print Technician K2 Screen Fine Art Screen Printers Clerkenwell London [2004-2007]

  • Founded Blacklist Editions Screen Print Service for Paper and Textiles [2008 - present]

    Print graduate of the Royal College of Art, Jonas is an artist based in East London whose work falls into two main categories which encompass the twin strands of both Fine Art Practice and silk screen print making.

    New works engage with the aesthetic experience that emerges from perceiving boundless landscape. Through obtrusive factures, exaggerated distortions of scale, darkness, obscurity, privation and vastness, the images encompass subjects relating to the apocalyptic, biblical and the sublime. Lacking a human presence, the landscapes occlude any sense of scale, deliberately making it difficult to ascertain the actual scale of the imagined realm. This in turn heightens the role of the spectator in beholding the scene. The effect is to alienate the viewer from the composition, positing the question of nature’s indifference to man.

    The rich & seductive quality of the prints are in contrast with what is depicted, sometimes drawing connotations to beauty as well as the grotesque. Fabricating hand drawn images, photographs, both painting & digital painting, traditional themes of landscape are reconfigured. The resultant interest lies in the artistic momentum of filtering, levelling and balancing out the pictorial qualities of this material with digital processes. Achieved then, through treatment in both digital conversion and CMYK colour half tone separation silkscreen technique, final pieces consist of large printed works which are visually complex and often cartographic in form.

    Works incorporate a visual language that simultaneously monumentalises and dissolves form. A sense of immersion pervades, the luminal space traversing fact and feeling. The Landscapes become a metaphysical realm for the purging of emotional trauma. Cloud expresses the aphophatic nature of the divine, the unknowable, that which will forever elude our human understanding. Having then a symbolic meaning, the landscape depicted thus veils the distance and cast shadows across the landscape. The aspect of the cloud as symbolic form, as phenomena and appearance, always in a state of metamorphosis, which obscure the immutable quality of higher truth, cloud representing the unseen God, veiling the sky.

    Cloud is a gift from the spiritual realm. Mist is the gentle rain of fertility, the sacred substance that impregnates our mind and spirit, enabling our thoughts and insights to grow and blossom. It is the warm, enveloping caress of divinity letting us know that what we are looking for is almost within our sight.

    Accumulation of historical & mythological research has formed the basis for these configurations, one in which associations between religious constructions, quasi-science and fictional architecture are a re-occurring features. There is a deliberate sense of unease. To make anything truly terrifying, obscurity seems in general to be necessary. When we know the extent of any danger, a great deal of the apprehension vanishes. Life disappears in the magnitude and remoteness of the perspective. It also functions to bring examples of the ‘ancient’ into an uneasy conjunction with the present . The overpowering taps into our apocalyptic anxieties through the presentation of an apparent paradox which destabilizes our sense of the truth.