Sarah Jones
Consulting Room (Couch) (X), 2003
C-print, mounted on aluminium
150 x 150 cms
59 1/8 x 59 1/8 ins
59 1/8 x 59 1/8 ins
Signed and dated 'Sarah Jones 2003' on a label affixed to the reverse
Provenance
Maureen Paley Interim Art, LondonAcquired from the above by the previous owner
Executed in 1997 and printed in 2003. This work is unique (plus 1 unique artist's proof). Sarah Jones, in an article for The Guardian newspaper described her intentions: 'Freud saw...
Executed in 1997 and printed in 2003.
This work is unique (plus 1 unique artist's proof).
Sarah Jones, in an article for The Guardian newspaper described her intentions:
"Freud saw lying on the couch as a way to facilitate a "talking out" of the body: to dig into the unconscious, to loosen the grip our past might have on us. The marks on the wall and the imprint on the couch, made under the weight of the patient's body, become significant. The print is almost life-size – 4ft sq – so when it's shown in a gallery you can imagine yourself, or someone else, lying on the couch.
I am only allowed to photograph rooms when patients aren't around, and I use whatever light is available. I work with a large-format camera, which means the amount I can do is limited. The exposures take between two and five minutes, so I usually make one or two photographs during a two-hour visit. The rooms are purposefully subdued, muffled and cocooned. The outside world is distant; time feels suspended."
This work is unique (plus 1 unique artist's proof).
Sarah Jones, in an article for The Guardian newspaper described her intentions:
"Freud saw lying on the couch as a way to facilitate a "talking out" of the body: to dig into the unconscious, to loosen the grip our past might have on us. The marks on the wall and the imprint on the couch, made under the weight of the patient's body, become significant. The print is almost life-size – 4ft sq – so when it's shown in a gallery you can imagine yourself, or someone else, lying on the couch.
I am only allowed to photograph rooms when patients aren't around, and I use whatever light is available. I work with a large-format camera, which means the amount I can do is limited. The exposures take between two and five minutes, so I usually make one or two photographs during a two-hour visit. The rooms are purposefully subdued, muffled and cocooned. The outside world is distant; time feels suspended."