Aphrodite in Aulis 1940 - 1941

Editor: David Jones's "Aphrodite in Aulis," currently in the Tate, feels like a dreamscape conjured in watercolor and pencil. The goddess looms amidst classical ruins and strange floating objects. What do you make of this incredibly dense and symbolic composition? Curator: It’s a world within a world, isn’t it? Jones, ever the poet-artist, layers classical myth, personal symbolism, and perhaps a touch of his experiences in the First World War. Aphrodite isn't just beauty; she's a force, almost overwhelming. What do you think of her expression? Does she look serene, or something else? Editor: I see a kind of haunting sadness in her eyes. Curator: Precisely! That tension is key. Jones suggests that beauty and destruction, creation and sacrifice, are eternally intertwined. It's a powerful, unsettling vision. Editor: I'll never look at Aphrodite the same way again. Curator: Good, then Jones has worked his magic on us both!