Natalie Jones

By the light of the blinding moon, mother of solitude.

Light forms by the water.

A prismatic view of grass and flowers; an exploration of mirrored light.

A short film about the abstract processes of light becoming a physical form in the landscape.

A prismatic view of flowers.

A prismatic view of grass.

By the light of the blinding moon, mother of solitude.

Light forms by the water.

A prismatic view of grass and flowers; an exploration of mirrored light.

A short film about the abstract processes of light becoming a physical form in the landscape.

A prismatic view of flowers.

A prismatic view of grass.

Currents Of Water, The Ether, The Fire, The Blood. / Progression Of The Fall, Its Sights, Its Flesh, Its Ruins.

Quiet reflections at the end of the season.

Beloved textures left to their own devices. 2 of

Thirty-six layers of water aligned to create a perfect circle. 1 of 2

Thirty-six layers of water aligned to create a perfect circle. 2 of 2

A study of time's dark-flowering unknown center.

Beloved textures left to their own devices. 1 of

Deathless formless.

Prelude to the short film Visitant

A landscape film about winter.

A video installation exploring the textures and sounds of various bodies of water: lakes, ponds, river currents, waterfalls, and streams were filmed across Vermont, and ocean sequences were filmed in Maine. The work connects multiple landscapes, utilizing digital grain, layered imagery, and manipulated audio recordings to depict abstracted but natural environments in a state of continual change.

The second film in the Phosphenes series.

Moments of springtime

A study of water and fire.

Two deer notice an unfamiliar presence in the forest.

A cycle in decay.

From the mouth of the mad river.

A nematic painting of sleep.

A long dark night transforms the day.

Top of mind: linear burned by the infinity prism; De luce (1215–20) by Robert Grosseteste; ultraviolet tremolo; spilled image; decay as yet another layer of lifted light

Flashing images