Painting seascapes came into my view in 2003, although it was then more in conjunction with the subject of “J Class Yachts”. This was an entirely new subject matter, and so was the medium of oil paints!
Prior to this I was focused mainly on portraiture and also illustrative works which, for the most part, required a solid foundation of reference material. This, together with the techniques I have learned and developed over a large period of time, have proved to be extremely beneficial in what I do today.
After spending 2 years with the yachting theme, I moved onto the subject of seascapes and working still with oil paints as my chosen medium. The open seas and oceans have been my subject since 2005, moving also to explore the shores, both presenting their own sets of opportunities and atmospheres.
Close studies and sketches have enabled a deeper understanding of how the sea “works”, how it feels. 2013 saw a change of medium to acrylic from oils with a new approach to my art…in fact it was creeping up on me without me noticing through these studies and sketches. The idea of expressing more of myself into my art started to emerge with much thought on the subject – combining realism and expressionism to work harmoniously together. Acrylic has proved to be a perfect media for this way of working and approach to my subject.
Although I have remained “faithful” to sea painting, I have also enjoyed working with different subject matter, I think largely spurred on by the covid lockdown period which found me trapped there in my hometown for 4 months 2020. I wanted to further explore techniques by experiments and have some fun with it. I think also the work with other areas cannot do anything but help my future works with the sea, and I notice that in my work. 2021 especially saw me concentrating very much on Alla Prima (wet in wet) oil technique to get my skill level up and to prepare for outdoor work as it was an area that I wanted to get better at, to understand better. Those works (also with landscape and other works) I have included on this site as I think that they are important also to what I am doing, and will do.
The road certainly does wind and twist when it comes to directions with materials and focusses, probably keeping it all interesting, but ultimately for me its to get better at what I am doing with experience and knowledge.
The sea is something to be in awe of. It is a magnificent force of nature that deserves respect. Not only artistically do I enjoy the shapes and the lines of storm clouds or powerful waves, but the atmosphere and the feeling they give to me. Details, coupled together with movement and drama, possibly defines largely what my work is about. Many aspects and disciplines are interwoven like fabric, giving a result that is not only visual but something that can be felt differently inside of each of us in our own ways.
The following below were prepared for catalogues from two solo exhibitions, one in Italy, the other Montenegro.
“In front of his painting of the sea you can absolutely contemplate for hours. Vernon doesn’t paint the sea, he reproduces it. All of his paintings are small projects about exploring the movements, the deepness, the density and the light of the waves. In front of his pieces you must stand still in complete silence and then you can really hear the roaming of the sea. The sea is the ultimate inspiration which is in the centre of his artistic creation. The water is the element in constant movement and with constant rebirth. Sometimes is mute and deep as the human soul. Jones’ sea is vast as a mirror where we can observe our own reflection, our lives and existence. The sea narrates the human destiny and represents eternity. On the canvas the waves are alive in desperate pursuit of tranquility. Jones’ art reflects freshness and obvious dedication to smallest details. His technique is precise and his artistic realism holds great respect toward the sea and its greatness. The respect toward the nature is “photographed” and is the core inspiration for the artist. Vernon Jones’s art can be defined as hyper-realistic, even though this definition might be restraining, as the artist doesn’t wish to paint the spontaneous nature of the water and the waves. He wants to convey the utmost essence of the sea and its greatness.”
“The system that Vernon Jones is establishing implies an inner editing of well deliberative sequences, which in turn makes the composition of the painting to affect us perfectly with a simple fiction – realism. These impressive paintings of assigned marine extracts are set with one common plan like a part of the everlasting, like days that are threaded with his positive and negative tangible and untouchable views. The topics which take a place in Jones’ paintings are according to one precise, well deliberative and developed system and plan of the Author, into a sublimate of a dialogue between the measures and the relations. I have an impression that the Author has set up a goal:, to span and visually realize a true reality, which exist outside of the painting, and afterwards to paint on the surface of the canvas sequences of the real world placed by personal exegeses of reality. However they are expressed through the subjective filter from the Artist, Vernon’s paintings are representing that reality of one possible sequence; painting, performance and the impression of the real world. Here the Author is just subtly selecting these vital moments which are very important for the stuff of existence. Vernon Jones’ paintings seek out one positive world, secret landscapes lightened by the short flare of the sun and thunderbolts, and that exist somewhere deep inside us and around us, where ruling laws are different. The work of Jones besides all of the clarity of the composition are quiet and unassuming (like the temperament of the waters surface), a spotless lyricism through fine art, recording the fragments of time in which we live.”
(Translated by Maria Nastevska (from Macedonian to English)