Prohibition Gallery is honored to present, Participating Perception, by Los Angeles-based artist, Angie Jones. This new collection of works will be her first solo show at Prohibition Gallery and will feature her oil paintings on canvas. The opening reception of Participating Perception will be held at the Prohibition Gallery on August 16, 2014 from 6-9pm.


The exhibition will be on view through September 6th, 2014 and is free and open to the public. The faces of Participating Perception require your presence. The work begins not in the digital and not in the physical, but in the mix that our minds make of the two. The abstracted paintings mirror an 8-bit, computer generated counter culture. “Peak shift" palettes and a portrayal of persona through paint is inspired by Jones’ 20 year career as an artist working in Visual Effects, Video Games and Animation. Maintaining one foot in the past and another in the future Jones uses digital manipulation, 17th century oil painting techniques, sacred geometry, computer glitch and complex color theories. Participating Perception is a deconstructed, neo-geo perspective defined by creating something new, from something old and making it new again.


Influenced by the genres of Abstract Expressionism, Fauvist Painting, and Neo Conceptualism, mix with modern day sitters and represent idiosyncratic faces. The goal is to capture the essence of what makes us uniquely human reclaiming depth and beauty from the cold impersonal nature of digital imagery making it human (and humane), again.


Jones designs and builds the subject in 3D computer software to envision the piece in the round. A fractured perspective of geometric shapes (specifically polygonal triangles) creates the entire reference form. Moving to painting, thin glazes are applied to create a rich vivid color study similar to stained glass. Through these planes of color the viewer’s perception is created in the same way as an impressionist piece works. The closer you are to these works, the more abstract they become. Further away, the image reorganizes. The image therefore possesses a specific reality, settling between the object and the viewer who recreates it. The viewer must be present to create the work.


The neo/geo-nature of Participating Perception is like a coil that returns to the beginning and cycles back again. The paintings trace a loop to a cultural past, and a return back again. Jones questions influences on society and our role within a culture bombarded by flickering screens, technology and commercialism. Jones composes from the interaction created with space and requires a dialog with the viewer to create the final piece.


This is what is called Participating Perception.