About Caroline
Briton Caroline PM Jones is an artist, sculptor, and memorialist based in California, working from her studio in Topanga Canyon. With a practice spanning over three decades across Europe, Asia, and the United States, her work moves between painting, sculpture, and site-specific installation, grounded in a deeply traditional approach to making.
Jones’ process begins with immersion—through travel, observation, and hundreds of hours of sketching and plein air painting. These studies form the foundation for works that evolve into oil paintings, carved stone, bronze, and increasingly, ceramic sculpture. Her materials are integral to her language: stone for permanence, bronze for memory, clay for transformation, and paint for atmosphere and perception. Across all mediums, her work explores surface, form, and the thresholds between interior and exterior worlds.
Her recent sculptural series, Liminal Vessels: Sculptures from the Stillwater Threshold, marks a significant expansion in both scale and conceptual depth. Rooted in observations of cypress landscapes and reflective terrains, these works investigate the idea of the vessel as both container and conduit—holding memory, time, and presence. The sculptures often embody a quiet tension between weight and lightness, grounding and reflection, suggesting a space “between” states of being.
Alongside her fine art practice, Jones has developed a distinct body of work as a memorialist, founding Digital and Stone, a platform that brings together physical monuments, digital storytelling, and environmental legacy. Her memorial works connect memory to place—integrating sculpture, landscape, and technology through QR-embedded markers and digital archives that allow stories to be shared across generations.
Her community-focused projects include the design of contemporary monuments and memorial parks, where art, nature, and collective remembrance converge. These works often incorporate environmental elements such as tree planting and land conservation, extending the act of memorialisation into living systems. Through this practice, Jones explores how memory can be held not only in objects, but in landscapes, communities, and evolving ecosystems.
Whether through intimate studio works or large-scale public installations, her work reflects an ongoing dialogue between material and meaning, presence and absence, and the enduring human desire to mark, remember, and connect.
Painting & subject matter
“Since 1989, my paintings have moved between the literal and the lyrical—rooted in place, but shaped by memory and allegory. From the dancing monks of Bhutan and Chinese opera performers of the Pear Garden, to the aquas of Los Angeles swimming pools and the rock formations of the Mojave Desert, each body of work begins with immersion and observation.”
The transition to sculpture
“I came to sculpture in my thirties, when pregnancy grounded my movement across the world. I began to travel across surfaces instead—finding landscapes within stone. I studied ornamental and architectural stone carving at City & Guilds in London, completing the work alongside raising my children, and from that point my practice became a dialogue between painting and sculpture.”
Material & stone
“Stone has always held a presence for me. Since childhood I’ve been drawn to what it contains—time, memory, and a kind of quiet spirit. Across cultures, stone has been used to mark, to honour, to build, and to remember. My work continues that lineage, exploring what is held within material, and what can be revealed.”
Memorial work & purpose
“My first memorial commission in 2015—a carved pink marble headstone with a Tree of Life—shifted my practice profoundly. Creating something for both the grieving and the departed opened a deeper dimension to the work. Since then, I’ve developed memorials that connect memory to place, combining sculpture, landscape, and storytelling.”
Digital and Stone
“I founded Digital and Stone to extend this idea of remembrance—bringing together physical monuments, digital memory, and environmental legacy. Through the Tree of Life platform, memories are preserved, landscapes are restored, and stories continue to be shared across generations.”
Current practice / Liminal Vessels
“My recent work explores the idea of the vessel—not only as form, but as a threshold. These sculptures hold space for memory, reflection, and transition, bridging material presence with something more ephemeral.”
Collections
“My work is held in corporate and private collections internationally, including Hong Kong, the United States, Britain, China, India, Taiwan, Japan, Indonesia, Malaysia, Australia, Switzerland, Italy, Spain, Gibraltar, South Africa, France, and Bermuda.”