Like willful charges who have somehow slipped the leash, Stephanie, Rohan, and Camilla enact their overwrought adolescent emotions. Made confidante, the viewer is nonetheless privy to no more than a fraction of their intimacies: there is always a residue, a narrative that both precedes and succeeds the image. Sarah Jones, to these English teenagers, is a witness before whom they pose, and for whom, because they remain callow, unaffected, they also do not pose. Between middle-class poise and juvenile posturing, the girls hesitate, unsure of their status, their rights within the privileged precincts they inherit—just as Jones’ work hovers between narrative certainty and uncertainty.

These immaculate spaces are the rooms of large English houses, each home to one of the girls. Jones depicts the rooms as exemplary sites of bourgeois ritual, and makes it clear that most are rarely entered, save

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