Sarah Jones' pared-back photographs are characterized by a subtle but powerful psychological tension. Best known for her images of therapists' couches and of roses from municipal rose gardens, her images typically combine a relatively shallow depth of field and an almost obsessive sharpness of detail with a limited but intense palette. Jones' interest in the notion of mirroring, both as an act of photography and in the psychoanalytic sense, and her fascination with the idea of the camera as an onlooker or a third eye, provoke a consideration of the act of viewing on behalf of both photographer and viewer. "I photograph things front-on with as little direction or intervention as possible," she has said. "It's about stripping everything right back, in a Beckett-like way. If you strip language as far back as you can, strangely, there's often more of it. I want to reveal the workings or truth of something, and that's the starting point."

Jones has exhibited her work in a number of galleries and institutions including Anton Kern Gallery, New York, Minneapolis Institute of Arts, Minneapolis, MN, Maureen Paley, London, UK, National Media Museum, Bradford, UK, Huis Marseille Foundation for Photography, Amsterdam, Netherlands, Museum Folkwang Essen, Essen, Germany, Centre for Photography, Universidad de Salamanca, Spain and Museum Reina Sofia, Madrid, Spain, among others. 

Courtesy of Counter Editions