I decided to make a painting for Dover that would, at the same time, be a metaphor for history and change. Out of a series of photographs – documenting a painting evolving over 42 painting sessions – I made a film. There is no finished painting: I could have stopped at many of the 42 stages but I kept painting until I felt I could reveal nothing more and the work returns to something reminiscent of where it began. I have cut the final painted canvas into 324 pieces, a piece of which was given to each audience member with the programme at the War & Peace Grand Finale Concert on October 11th at Dover Town Hall.” (Joanna Jones)

The film was first screened together with Mihailo Trandafilovski’s “Diptych” Violin Concerto No 2, performed by Longbow under the direction of Peter Sheppard Skaerved, at the DAD War & Peace Grand Finale concert on October 11th 2013 at Dover Town Hall.

“The whole piece was totally absorbing, the music and art working symbiotically, each feeding and responding to the other quite uncannily” (PaulYoung)

“The first step in this collaborative process was a concert given at Wilton’s Music Hall, in June 2012, during which my composition Diptych, written for this event, was premiered – Joanna had also been invited to exhibit a new painting on stage for this occasion. Some parallels arose between the two works that seemed serendipitous, but which reflected our enduring interest in each other’s creative process – for example, instinctive physical gestures and aspects of duality. This interaction flowered when the same piece of music was joined with Joanna’s Re-Veil-Le, commissioned for Dover Arts Development’s War and Peace project in 2013. In some ways, Joanna’s work here is contrary to the music: there is no finished product, and each of the presented stages carries its own weight; neither does Re-Veil-Le try to reflect, in an obvious way, the polarity central to Diptych . Instead, the two pieces gradually give rise to a dynamic relationship, creating a web in which gestures, structural development, and the static nature of the individual steps of the painting are enveloped. This counterpoint is perhaps most powerful in the closing stages, where a deep underlying link is revealed.” (Mihailo Tradafilovski)