Saturday, February 13, 2021



Art in the Time of Corona





Collage (black paper, burned paper)
21” x 17”

Ready-made sculpture
Painted steel and wood
3.5” x 6” x10.5“

Wednesday, April 8, 2020

Echoes of Bauhaus Photography Cast Long Shadows

Exhibition Dates: February 6 - April 24, 2020

Opening: February 6 | 6-8pm 
Curator: Hanna Regev

Paying homage to Bauhaus at 100, Echoes of Bauhaus Photography Cast Long Shadows exhibition explores the far-reaching impact of Bauhaus ideas in recent photography and photo-based art. 

By bringing together all of its forms - prints, projections, and installations - this exhibition explores how Bay Area artists draw on the school’s aesthetic and spirit of unlimited experimentation and continue to push the limits of the medium through the innovative use of technology, novel photographic techniques and interdisciplinary strategies.

My piece in the exhibition: Sight, 2020, photomontage

and the Panel Discussion I participated in:

Saturday, March 23, 2019

In July 2018 and in February 2019 I received  support grants from the Artists' Fellowship. Inc

"The Artists' Fellowship has been proud to be able to support our fellow artists since its founding in 1859"

Friday, March 15, 2019

          The BAMPFA acquired 2 works from my solo exhibition at Don Soker Contemporary Art 

                                          Humboldt-1 2017   
                                                   silverpoint 9.25" x 11"

                                          Variant 2018    wood, pigments, chemcast acrylic, Plexiglas vitrine with
                                           drawing 26" x 17" x 17"

Tuesday, December 18, 2018

Reviewed in Visual Art Source

Theodora Varnay Jones
Don Soker Gallery, San Francisco, California
Recommendation by DeWitt Cheng

Continuing through December 22 , 2018

The sixteen conceptual works by Theodora Varnay Jones in “Dialectics: angles of cognition, in the orbit of photography” do not reveal themselves quickly — as one might suspect, given their daunting title. Yet these multimedia works, featuring black and white photographs, graphite rubbing, and contour-line drawings on layers of paper (including Yupo and Japanese Gampi paper), Plexiglas and vellum, reward attentive scrutiny. Varnay Jones combines a love of materials, process and craftsmanship — the frames that she fabricates are integral parts of the artworks — with a concern for perception and philosophy. She particularly draws on Plato, who posited a perfect world beyond mundane appearances. Her works dialectically synthesize objectivity and subjectivity as the paintings of C├ęzanne and the Cubists (both influences) did; they combine multiple views to suggest the complex identity of objects and observer in the changing and timeless worlds of nature and modern life. “One perception is not enough for me,” the artist has said, ”I am combining different views.”

Varnay Jones considers photography and frottage (rubbings) to be similar, since they are both directly related to the objects that they depict: they’re emanations, in a way. In several pieces in the show — “ F-11 (Homage to M.G.),“ “F-9” and “F-10” — the titles designate frottage. These were inspired by the artist’s residences during the past two years, in rural, quiet and technology-averse studios north of San Francisco: at the Lucid Art Foundation, in the Marin County town of Inverness, in fact in the former studio of the late Surrealist/abstractionist Gordon Onslow Ford; and at the Morris Graves Foundation, in Humboldt County. Frottage in these magical time-warp locations became a non-photographic way to ‘record’ intriguing objects — Graves’s kitchen table, in this case — and to create an alternate object for further exploration. The rubbings, made on opaque and translucent papers, superimpose, but not precisely, a sense of movement and change, of depth and time. Other works take the same quiet route to mystery. An untitled, unframed wall piece of crumpled paper, irregularly circular and pleated, and coated with dark, glossy graphite, suggests a silent mineral world (as well as Max Ernst’s Surrealist 1925 frottage, “The Earth As Seen From the Earth”). A series of silverpoint botanical drawings and layered and flipped river-landscape photographs pay homage to Humboldt County’s natural glories, but transmute them into ambiguous symbols, floating worlds and vehicles for reverie. A pair of assisted-readymade sculptures (painted and repaired with gilding, kintsugi-style, or juxtaposed with other elements), transform a piece of fissured wood and a jumble of the protective paper removed from Plexiglas, “Mimic” and “Variant,” respectively, and show again that creative value can be coaxed from the most mundane materials.