Feminist & artist. Writing & visuals.

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winter playlist

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Birth: opening scene/mini-review

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Open, Birth: an hooded, silhouetted figure runs against a white central park backdrop for what is a considerably long tracking shot, accompanied by Alexandre Desplat’s charming Prologue. The jogger – all we presently know to be “a man of science”, later revealed as protagonist Anna’s deceased husband, Sean - then collapses to the floor, made smaller by the eclipsing darkness of the arch.  As the camera moves away from this obstacle in the path, we get the sense of something irretrievably lost, and though the theme of reincarnation presents itself in the quick change of scene and music, it is a tempting leap that the film serves to criticise. Within this first five minutes, the tone of Jonathan Glazer’s Birth (2004) is set: confronting mourning with harsh reality – the contrasting black and white imagery and anonymous characters could easily read as a metaphor for Sean’s conveyed outlook on life.  The willingness Sean has toward believing in “mumbo jumbo” in a situation of mourning is played out by Anna to devastating effect in one of Nicole Kidman’s most impressive performances, and despite the unconventional approach to the subject of grief, it is believable and effective - with cinematography by Harris Savides undoubtedly making it a pleasure to return to.


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Nicole Jones photography feminartist

Nicole Jones photography feminartist

Nicole Jones photography feminartist

Nicole Jones photography feminartist

Model Layla Simons. Photography by Nicole Jones.


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In order of appearance: Layla, Tamar, Henry & Madie. 

reclaiming the space online exhibition

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Pages collage by Nicole Jones feminartist

Recently my work from my Pages project was featured on an online exhibition, Reclaiming the Space. Initially the little A5 book was intended to be a private journal, but soon found the collages filling the pages had very little to do with my own life, and were becoming more and more impersonal as I gathered images from found books, magazines and postcards, rather than including my own memorabilia. The images used span from the 1940s right up to the modern day, and with this in mind I came to think of it as a sort of social commentary, one influenced from a feminist perspective.

The work is tied together under the description "a collection of contemporary art submitted by women and female identifying artists in attempt to claim a space for women's voices in art. The artwork featured in this exhibition directly relates to feminist issues as a whole, but also the experiences of women artists and the space they inhabit in the art world." I'm very proud to have my work featured alongside so many talented women - below are a few of my favourites from the collection.


Riley Fields

Love At First Sight: Her Hair, 2015
Mixed Media, The Artist’s Hair, Glue on Wood Panel
Love At First Sight: Her Smile, 2015
Mixed Media, Resin Denture Teeth, Glue on Wood Panel

Louise Connor
Pudica I, 2015
Cut paper
 21 x 29.5 cm

Olivia Johnston
Lot’s Daughters (Clara, Emma), 2013
Photograph as inkjet print, 
16" x 20"

Rossana Taormina
Sequenza #5 (the lady), 2011
Mixed Media, Old photographs and thread
11.5 x 17.5 cm