Sarah Jones' research considers our relationship with our surrounding reality from the domestic situation to the natural world. This international group exhibition, curated by Filippo Maggia, with Elina Brotherus, Anika von Hausswolff, Walter Niedermayr, Salla Tykka, and Walker and Walker, presented her photographs in the context of other artists whose work shares a proposed curatorial notion of a peculiarly Northern European sensibility. The selection, context and installation made apparent her research that references an array of art historical allusions, by using archival categorisations of paintings as a critical framework.

This was new research into how categorisation might apply to Jones' practice, beyond an interest in the narrative/non-narrative drive of the images alone. She researched how such categorisation might affect our reading of the photograph, and, in particular, how genres in painting have been historically applied, and, latterly how these genres are carried still in the organisation of photographic collections or archives. This project came about after a number of discussions with and studio visits from the internationally recognised photography (historical and contemporary) curator Filippo Maggia. This dialogue led Jones to examine how her own photographs operated in the gallery space and to reflect on her own archive, exhibiting several works previously unexhibited, sequencing works from different series, ordering by generic headings. This was a manner of presenting her work she had previously not explored and allowed for a new approach to the notion of narrative, both formal and 'literary' and was set within a more emotive context; that of the notion of 'sensibility', the dialogue constructed around the selection of artists and their work (both photographic and film). The catalogue contains critical texts by Filippo Maggia and by Angela Vitesse, director of Galleria Civica di Modena. Two works from the exhibition were acquired for the public collection.