"If this artist’s interests seem odd and dislocated, that is their point. She eschews the obvious and investigates

clichés in terms of gender, materials, occupations, with a gimlet eye... She has funded her art practice by working as a blacksmith and steel-fabricartor: it is her encounters with the tit’n’bum pin-ups of the macho workplace that spurred her investigations into the nature of gender specifity and eventually the conventions of work itself... her forensic approach to her subjects is accompanied by a sharp sense of humour, one with a knife-like quality."


- Hugh Adams, Imaging Wales


"There is an irony inherent in Angharad Pearce jones’s most recent works, it forms a full circle with her image as the artist-blacksmith, a traditional worker. She understands the way in which manual work of this kind has been relegated to the realms of DIY enthusiasts, white-collar workers becoming blue-collar weekenders."


- Iwan Bala, Planet: The Welsh Internationalist, Issue 142



In response to Anghard Pearce Jones's interactive installation of twelve topless nudes in polling booths, "WHO WINS? YOU DECIDE...", Rachael Thomas of the Museum of Modern Art, Dublin writes…

"The work brutally questions what it means to be a woman in today's society... The work has succeeded, as it raises a reaction that does shed light on a serious issue. Perhaps this is because it assumes upon everything we can't quite accept in post-modern culture, the mandate by which pastiche and high art must be co-dependent."



"[...] Angharad Pearce-Jones' piece Beam presents us with a potential reference to the shadows on the wall of Plato's cave, but here the archetype appears no more real than its shadowy, ephemeral re-presentation. The apparently robust and sturdy steel and zinc beam that casts its shadow upon the gallery floor is comprised of the logos of prominent construction companies, adrift upon the instability of world markets. The over complexity and apparent futility (when considered in parallel to the current uncertainty in the construction industry) can be read as a possible metaphor for the intricate and overwrought spectacle of global capital that is its own archetype and its own representation, its apparently solid foundations belong to the realm of the decorative. It is an archetypal postmodern object, re-presenting itself: its art is that of illusion and its philosophy that of disillusion."

- Christopher Collier, Beyond Pattern review on a-n