Lindsey Jones Artist
Statement
Today, much is understood about contraception and childbirth. Yet significantly less is taught or researched by medical professionals regarding menopause—a complex phase in a woman’s later life, notably associated with the lack of a monthly period. However, there are more than thirty differing symptoms that can persist for decades. As many women remain in the workforce into their 60s, there exists a frustratingly wide gap in knowledge, a lack of empathy from employers and limited options for treatments from healthcare staff, exposing a much broader problem in the workplace as women all over the world are kept at a disadvantage compared to their male counterparts of a similar age.
A UK Government Policy report, “No Time to Step Back: the government’s Menopause Employment Champion,” authored by Mim Davies MP and published in March 2024, and “Menopausing,” written by Davina McCall and Dr Naomi Potter and published by Harper Collins in 2022, are armed with statistics and a wealth of empowering information. They emphasise the need for society to reconnect and care for women through this challenging era. Nurturing the skills gained from raising families so they can forge fulfilling and meaningful careers.
Combining my research into ceramic decals, the Willow Pattern from Spode Pottery in Stoke on Trent, with Paul Scott’s blue and white subversive plates and Sir Grayson Perry’s green vase “Poverty Chinoiserie” 2008. Reading Elaine Scarry’s “The Body in Pain”, published by Oxford University Press in 1987, also fed into my work and ignited the start of my final year.
My work delves into the interplay of complementary and opposing materials. Explicitly drawing attention to the moments when women begin to underperform in the workplace due to premenopausal or menopausal symptoms eclipsing their abilities. These changes can manifest slowly and negatively impact women's dependability to do their jobs, isolating them and putting them at greater risk of being overlooked for promotion, in line for redundancy, or even dismissed.
The kitsch-style blue and white digitally produced water-slide decal transfers, images of domestic chores and other responsibilities performed predominantly by women are grouped and decorated on the glazed surface of a large ceramic platter. This resembles Katrin Moye’s work “A Menopause in Majolica” (Collect 2024) and takes inspiration from Judy Chicago’s The Dinner Party (1979, Brooklyn Museum of Art). Focusing on the perceived status quo for the ageing female population in Western cultures. It rests at an angle on a metallic snaking blade and functions as a pedestal. It coils and interlaces with the pinstripe fabric-covered plinths with its cuffs, pockets, and lapel features, providing a quick visual link to industry and authority. On the inward-facing blade’s surface is a derogatory word two separate senior managers from industry-leading corporations referred to concerning female employees’ behaviour during the change. The outward-facing blade represents the image corporations wish to convey, yet menacingly, it hovers over the slackened and diminished hot pink female body parts; the serrated edge and sharp point poised over the sculpture to be cleared off the edge of the platter, representing the underhandedness of the capitalist workplace, symbolising the questionable practices in some professional environments, ones with targeted policies, menopause champions, and employee training on menopause. These corporations continue to pay lip service to the physical and mental challenges faced by over half the population and, in doing so, perpetuate the cycle.
Challenging societal norms and initiating dialogue to raise awareness of the injustices faced by women as they navigate their changing bodies and mindsets is essential. Acknowledging that this can often be difficult to manage, everyone needs to recognise that women in the workforce should not face these challenges alone. It is no longer acceptable for them to be isolated, marginalised, and made to feel self-conscious about the natural evolution of their bodies. I predict menopause themes will become more prevalent in art over the next decade, particularly among artists who forged careers in the 1970s and 80s.
Reading
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Paul Greenhalagh - Ceramic Art and Civilisation Inter-library loan for Dissertation
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Paul Scott & Terry Bennett - Hot off the Press University Library for dissertation
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Stephen Dixon - The Sleep of Reason University Library for dissertation
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Breaking the Mould new approach to ceramics University Library for dissertation
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Claire Ireland - Surface Decoration for CERAMICS Personal for dissertation
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Grayson Perry - The Tomb of the Unknown Craftsman University Library for dissertation
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Paul Scott - Ceramics and Print second and third editions Personal for dissertation
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Contemporary Ceramics University Library for dissertation
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Disobedient Objects University Library for dissertation
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Breaking the Mould British Art of the 1980's and 1990's. University Library for dissertation
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Patricia F. Ferguson - Pots, Prints and Politics Personal for dissertation
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Alison Briton - Seeing Things University Library for dissertation
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Angela Phillips & Jill Rakusen - Our Bodies Our Selves Lent JB
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Thinking is Making - Objects in a Space Personal
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Kevin Petrie - Ceramic transfer printing Personal for dissertation
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Grayson Perry - Smash Hits Personal for dissertation
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Jacky Klein - Grayson Perry University Library for dissertation
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Graham Collier - Form, Space and Vision University Library for dissertation
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Nina Power - One Dimensional Woman Tutorial recommendation
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Nina Power - What Do Men Want? Further reading
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Rebecca Solnit - Men Explain Things to Me Further reading
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Rebecca Solnit - The Mother of All Questions Further reading
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bell hooks - Teaching to Transgress Philosophies & Theories Module Reading
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Elaine Scarry - The Body in Pain Tutorial recommendation
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Nancy Fraser - Justice Interruptus Further reading
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Henri Lefebvre - The Production of Space Reading List
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Gillian Rose - Love’s Work, Paradiso Tutorial recommendation
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Gillian Rose - Visual Methodologies Personal
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Rebecca Solnit - A Field Guide to Getting Lost Reading List
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Russell Tovey + Robert Diament, - talk ART Personal
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Phaidon's Vitamin C Clay + Ceramics Personal
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Bernard Leach - Hamada Potter Personal
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Bernard Leach - A Potter's Book Jo Taylor's recommendation (Thrive Mentor)
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Kyung An and Jessica Cerasi - Who's Afraid of Contemporary Art? Tate St Ives
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Ceramic Review (Monthly subscription) Jo Taylor's recommendation (Thrive Mentor)
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Print Matters (Monthly subscription) Tutorial recommendation
Influential Exhibitions
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Spode Works Museum, Stoke on Trent
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Emma Bridgwater, Stoke on Trent
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Gladstone Pottery, Stoke on Trent
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Pitt River Museum, Oxford
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Yoko Ono, Tate Modern, London
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Ashmolean Museum, Oxford
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Ceramic Art London, Olympia, London
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Women in Revolt, Tate Britain, London
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Bristol Print Fair, Bristol
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When Forms Come Alive, Hayward Gallery, London
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Collect - Somerset House, London
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Hastings Contemporary, Sussex
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Strange Clay, Haywood London
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Frameless, London
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Van Gogh Immersive Experience, London
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National Portrait Gallery, London
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Summer Exhibition, RA, London
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The Leach Pottery, St Ives, Cornwall
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The New Craftsman, St Ives Cornwall
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Porthminster Gallery, St Ives, Cornwall
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Ai Wei Wei, The Design Museum, London
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Woolwich Print Fair, London 2022, 2023
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Open Studios Hampshire and West Berkshire
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School of Art, Reading Degree Show
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Yayoi Kusama, Infinity Mirror Rooms, Tate Modern, London
Influential Artists
Clay/Sculpture
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Sir Grayson Perry Hayward Gallery, London Decal, society, cultural & political messaging
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Paul Scott Stoke on Trent Research for dissertation
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Emma Bridgewater Emma Bridgewater Factory, Stoke on Tren Modern application of decals to functional ware
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Judy Chicago The Dinner Party - Brooklyn Museum US celebrates 39 women with a unique place setting
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Katrin Moye A Menopause in Majolica, Collect London Ceramics and Menopause themes
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Tara Donavon Exhibition - When Forms Come Alive, Lond. Scale, repetitive forms, precision
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Olaf Brzeski Hayward London - When Forms Come Aliv Destruction, explosive, the chard remains
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Matthias Merkel Hess, US Online Research Repetition of forms, close observation
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Steven Edwards Collect 24, Somerset House, London Making and ruining work to create art
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Zoe Preece Collect 24, Somerset House, London Simply magical illusion with clay & glaze
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Lindsey Mendicks, UK Strange Clay Exhibition & Online Research Theatrical installation, freedom to play
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Liu Jianhua, China Strange Clay Exhibition & Online Research White porcelain, repetition, staging
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Ai Wei Wei, China Exhibition, London Scale, repetition, curation
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Rachel Kneebone, UK Strange Clay Exhibition, White Cube, Online Large scale sculptures in porcelain
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Rebecca Warren UK talk ART Large scale sculptures with unfired clay
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Anthony Gormley, UK Tate Exhibition & Online Research Large-scale sculptures of abstracted figures
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Jo Taylor "Thrive" Mentor & Author “Hand Built Ceramics Collect 24, techniques, advice
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Claude Flight, UK Author
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Cyril Power, UK Online Research
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Sybil Andrews, UK Online Research
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Lill Tschudi, Switzerland Online Research
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Anita Klein, Australia Author and Summer Exhibition at the Royal Academy, London
Photography
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Hannah Wilkes Series of photographs taken of herself while battling with cancer - Intra-Venus 1992-1993
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Jo Spence Series of photographs of her experience of dying 1992
Painting
David Hockney, UK Online research composition inspiration for A1
Tracey Emin, UK Online research - Article in the Guardian May 2023, Angela Giuffrida
Frida Kahlo The Broken Column (1944) fear, pain, isolation, tears
Current Education
2020 - 2025 2022 - 2025
BA Fine Arts
School of Art, Reading,
The University of Reading
Berkshire
UK
Adult Education Courses 1 x 3 day, 3 x 5 day and the Leach Year
Leach Pottery
Higher Stennack
Saint Ives
Cornwall
TR26 2HE
Exhibition CV Venue
Final Year 2024- 2025
Autumn Term Exhibition Polyvacher, University of Reading
Title: Weird vs Thank you ladies
Medium: Ceramic Platter, Steel Blade, unfired ceramic sculpture on a fabric-covered plinth
Summer Exhibition 2024 Studio 3, University of Reading
Title: Ramifications
Medium: Mix Media - Slip Cast Porcelain, ES-80 a sugar cube, wire & fabric
Spring Term Exhibition 2024 Studio 3, University of Reading
Title: More Touch
Medium: Slip Cast Porcelain & ES-80 clay & a sugar cube
Winter Cabaret 2023 Studio 3, University of Reading
Title: Pic Line
Medium: Porcelain, Rope and Polythene Tubing
Autumn Term Exhibition 2023 Exhibition Gallery, Art Department, University of Reading
Title: Brutally Prescribed
Medium: Porcelain & Plaster
Summer Project 2023 Exhibition Gallery, Art Department, University of Reading
Title: Let's Get This Show on the Road
Medium: Photography & Collage on foam board
Study Break 2021-2023
2021 Winter Cabaret Year 2 (2nd) TOB1, Art Department, University of Reading
Title: Consequential
Medium: Porcelain Ceramic Sculptures
2021 Autumn Term Week 5 TOB1, Art Department, University of Reading
Title: Pandemic
Medium: Four Panels (Ceramic, Lino Print, Digital Collage & Animation
2021 Summer Project TOB1, Art Department, University of Reading
Title: Juice
Medium: Plaster & Electric Bulbs
2020 Winter Cabaret by Invitation (Year 1) TOB1, Art Department, University of Reading
Title: Resist
Medium: Mix Media Constructed Installation
2020 Autumn Term TOB1, Art Department, University of Reading
Title: Captain Tom
Medium: Animation & Lino Print
2020 Summer Project TOB1, Art Department, University of Reading
Title: A Drop in the Ocean
Medium: Ceramics
Access to Art & Design
Grade - Distinction
Reading College
Berkshire
UK