Allen Jones contemporaries at the Royal College of Art included Derek Boshier, David Hockney, R. B. Kitaj and Peter Phillips, who all radically changed the face of British art with their precocious, unconventional and irreverent work, based on popular culture, embracing new subject matter and new materials. Jones’s preference was for glamour and style; his aesthetic centred on beautiful women visualised erotically and stereotypically as in glossy magazines, advertisements and cartoon strips. Underpinned with a great mastery of colour and a consummate painting technique, Jones’s work fluctuates between painting and sculpture. On a flat canvas, painted forms appear sculptural and his three–dimensional works are painterly. He uses colour to describe form, at times with graphic precision, or conversely with an energy and freedom of gesture which is close to direct expression. Similar developments are evident in his printmaking.
Allen Jones' work responds to the artifice of cultivated landscape and seeks to make sculptures which used that artifice to distort scale and distance and to manipulate our perception of space. Jones’s interest derives from eighteenth– century landscape architects, who implemented this by introducing decorative buildings and follies into their schemes.