The eight large-scale photographs included in this solo-exhibition traversed the boundaries between studio and location, the floral still life and the clinical interior. Jones used the analogue view camera to measure, transcribe and examine the split of the gaze. In her research into the convention of the diptych, and how the viewer engages with two images in one work, Jones referred to early photography and stereographic glass plates, asking if it is possible to extend the singular act of looking by splitting the subject across two plates. This was contextualised by her photographic studies of consulting rooms used for psychoanalysis and photographs of roses in public gardens.
Concepts explored in the exhibition were expanded in conversation with New York-based fiction writer A. M. Homes, and developed as a six-page feature article on Jones’s work entitled ‘Still life’ in Frieze magazine (2008). The exhibition was reviewed in publications including Photography & Culture (2008), London Evening Standard (2008) and Pluk magazine (2008).

Two of the Rose Garden diptychs from the exhibition were shown alongside Dutch still life paintings at The National Gallery, London in the group show ‘Seduced By Art’, which toured to CaixaForum Barcelona and Madrid (2012–13). Selected photographs were also shown in group exhibitions including ‘Still Life: Arrangement’, National Media Museum, UK; ‘Golden’, Peabody Essex Museum, USA (2011); ‘Peeping Tom’, Vegas Gallery, UK (2010); ‘Jerwood Encounters: Passing Thought and Making Plans’, Jerwood Space, UK (2009); and ‘Flower Power’, Villa Giuila-CRAA, Italy (2009). In 2012, Exit magazine’s ‘The night’ issue featured a six-page spread on Jones’ work.