Betterland

Philadelphia-based artist Gregory Eddi Jones’ pictures draw from streams of common advertising images to reflect on photography’s use as a vehicle for idealism, fantasy, and the promise of paradise.

The production of his pictures begins with strategies of appropriation, compositing, digital manipulation. These images then undergo a printing technique that allows for the image, rendered with wet ink, to undergo mark-making, smearing, and bleeding before being dried and re-scanned into virtual space. The process, which Jones considers a means of “un-photographing”, breaks down the architectures of commercial photographic rhetoric and rebuilds them into new potentials of equivocacy.

The liberation of these images from photography’s traditional burdens of truth-telling enters into an exploration between the tensions of certainty and ambiguity, the fragility of shared meaning, and a reflection American's decent into an era of "post-truth" discourse.

© Gregory Eddi Jones - Betterland
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Betterland

© Gregory Eddi Jones - Picnic on the Greenest Grass
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Picnic on the Greenest Grass

© Gregory Eddi Jones - Annie in the Desert
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Annie in the Desert

© Gregory Eddi Jones - A Good Boy
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A Good Boy

© Gregory Eddi Jones - Cleaning Doesn't Have to be a Chore Anymore
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Cleaning Doesn't Have to be a Chore Anymore

© Gregory Eddi Jones - We Must Clean the Messes We Make
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We Must Clean the Messes We Make

© Gregory Eddi Jones - Janus Horse in Motion
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Janus Horse in Motion

© Gregory Eddi Jones - Kyle Surveys His Domain
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Kyle Surveys His Domain

© Gregory Eddi Jones - Naturae Generica
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Naturae Generica

© Gregory Eddi Jones - Parrot Talk
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Parrot Talk

© Gregory Eddi Jones - Bigfish
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Bigfish

© Gregory Eddi Jones - Vanessa on the Beach
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Vanessa on the Beach

© Gregory Eddi Jones - Suns Set
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Suns Set

© Gregory Eddi Jones - The Bather
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The Bather

© Gregory Eddi Jones - Winners Picture
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Winners Picture

© Gregory Eddi Jones - Steven Devours His Spaghetti
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Steven Devours His Spaghetti

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