An interview with Gary Jones, Birmingham’s HIV activist and artist
Written by Bessie Schofield
Artwork and activism are disciplines tightly intertwined by reflection, truth and change. From the infamous Guerilla Girls posters to Alketa Xhafa Mripa’s installation of sexual violence during the Kosovo war, art has the strength to unify communities, amplify voices and advocate for change.
Gary Jones, a speaker at Sexpression:UK’s 2024 National Conference, is well-versed in both the activist and art world – dedicating his creative talents to HIV education, awareness and de-stigmatisation. With his ever-reaching impact within the HIV positive community, artistic talent and vast array of activist accomplishments, Jones was an honour to interview.
Moving forward in twenty-year increments, Jones’ talk encompassed the staggering medical developments and cultural shifts from growing up in the HIV/AIDs epidemic to living a proud and healthy life as a HIV positive man. Scattering in personal anecdotes and his compassionate, humble personality, our Sexpression volunteers listened intently to his talk – flitting between laughing and teary eyes.
Our interview, whilst planned with questions, swiftly cruised off topic to a sincere conversation covering a vast ground of topics. From his role in Birmingham’s first Pride to his HIV memorial unveiling, Jones’ commitment to activism can be seen through his devotion to justice and continuous energy to inspire and empower. As he admitted, retirement isn’t an option.
Connection and communication underpinned our conversation. Overcoming language and cultural barriers, Jones’ public art allows marginalised voices to be celebrated in the spotlight, quite literally in the heart of Birmingham’s streets. Whether it’s silent appreciation, sparking conversation or an unwavering sign of support, Jones’ HIV memorial stands tall day in day out.
As Jones remarked, “it’s not about asking people to listen, but making them listen”. Through a visual stimulant, we can entangle the deep-rooted terror of the 1980s AIDs epidemic; we can demand improvement in HIV training in the NHS; we can educate and celebrate U=U; and forevermore honour the lives taken too soon. The entanglement of artwork and activism knows no barriers. Its impact extends oral and visual, carving a world beyond stigma.
Seen within a photo of young children hugging the memorial, Jones’ sculpture is a symbol of hope in a society rampant with stigma. The open arms of innocent children is poignant when contrasted with the reality of the deeply engrained prejudice within our society.
As Jones speaks about, a life free from stigmatisation is possible, but doesn’t come without dedication and perseverance. We must continue pushing. We must continue engaging, and what better way than through the intersectional language of art?
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