Allen Jones
Double Take, 2024-6
Oil on shaped canvas
140 x 210 cm
55 1/8 x 82 5/8 in
55 1/8 x 82 5/8 in
Copyright of the artist
Further images
Coming of age during the cultural shifts of the 1960s, where he emerged as a central protagonist in British Pop, Jones has maintained a distinctive compulsion in depicting the body....
Coming of age during the cultural shifts of the 1960s, where he emerged as a central protagonist in British Pop, Jones has maintained a distinctive compulsion in depicting the body. Focusing on questions of visual perception, sexuality, and performance, his practice draws on fashion, advertising and cinema.
A theme of theatricality unites a new series of powerful paintings, featuring shaped curves that accentuate spotlights and curtains. The shaped canvas underlines its objectivity, countering the pictorial illusion upon it. The picture is not the record of an event but is the event. As Jones described in October 2026, for him "visualising performance on stage is itself a performance on canvas – both are a record of creative invention"
Figures dance across canvases, their bodies fragmented and shifting while audiences watch on from balconies. Rendered in a saturated palette of green, yellow, and red, the paintings transport the viewer to an intoxicating, dreamlike space. In Double Take (2024–26) a couple seem to be at once turning towards and away from a performer on stage, enacting a sense of doubleness on the canvas. The picure seems pose the question of whether to look or not – are the couple in shock or amazement at the figure on stage whose body is suggested by fluid ribbons and tubular, serpentine forms?
A theme of theatricality unites a new series of powerful paintings, featuring shaped curves that accentuate spotlights and curtains. The shaped canvas underlines its objectivity, countering the pictorial illusion upon it. The picture is not the record of an event but is the event. As Jones described in October 2026, for him "visualising performance on stage is itself a performance on canvas – both are a record of creative invention"
Figures dance across canvases, their bodies fragmented and shifting while audiences watch on from balconies. Rendered in a saturated palette of green, yellow, and red, the paintings transport the viewer to an intoxicating, dreamlike space. In Double Take (2024–26) a couple seem to be at once turning towards and away from a performer on stage, enacting a sense of doubleness on the canvas. The picure seems pose the question of whether to look or not – are the couple in shock or amazement at the figure on stage whose body is suggested by fluid ribbons and tubular, serpentine forms?
