Sarah Jones first gained international attention in the late 1990s for her photographs of psychoanalysts’ consulting rooms and of the couch lain on during analysis. Her later well-known studies of young women in domestic interiors as well as in urban park settings draw attention to the relationship played out between sitter, location, camera, photographer and viewer. This is further explored in her more recent works with the life model and in the drawing studio. Diptychs of the horse, and of rose bushes on display in public gardens, refer to the viewing of stereographic prints and site her subject sunk both into, and emerging from, an inky photographic black. Her Wild Rose works continue to explore this black ground along with considering photographs as an act of drawing. Her most recent still lifes, Cabinet, isolate found objects collected and arranged for the camera in her studio. Jones has exhibited