Primarily object and video based, Jon Fawcett's work can be better described as a fabric of contemporary mythologies. Expanding from the more concrete manifestations of his work, this essentially conceptual component is informed by an in depth investigation into conspiracy theories, a critical examination of performance, and a desire to engage with 'the world' as a context. Fawcett's work participates in the world. Much of it takes place outside the art environment but more importantly, its functionality - its behavior and rationale - is located within a broader scale, paralleling activities such as business, politics and war. His work operates on a dispersed, global scale, often involving projects in exotic, far-off locations. The materials used in his objects are excitingly contemporary: art meets military and intelligence technologies in functional, performative devices, involving materials such as carbon fibre, machined aluminium, explosives and remote control technology. These devices, shown alongside the video and photography based documentation of the activities they are involved in, form a patchwork of engrossingly unresolved evidence: hints of an expanded reality for the viewer to explore and make their own.

This combination of documentation and artifact is carefully located somewhere between what we define as reality and as fiction. Involving grounded, irrational, mystical, technological, filmic and amateurish elements, it re-mystifies our existence, de-stabilising our reductive, institutionalised definition of what is real and what is not. Incorporating what Fawcett refers to as the post-sublime, his work goes beyond the intelligently mystifying, into the hyperintensity of the multiple. Formed from numerous diverse and richly explored approaches, his work creates a quiet, ungraspable 'toomuchness', an anomalous, hovering attempt at interpretability.

Jon Fawcett's current work includes a series of globally dispersed, high technology projects in locations including Ecuador, Kazakhstan, Australia and the South Atlantic, as well as other non-located device-based projects, a series of pan-dimensional objects and some text based work. His earlier work has involved subtle street-based performance-installation, large scale interventions into homes and offices spaces, and the collaborative creation of massive non-physical objects.

Fawcett's work has been been commissioned by the ICA (London), Wysing Arts (Cambridge), the Bonnington Gallery (Nottingham), Hull Time Based Arts (Hull), Fierce! (Birmingham), Harringwoods Associates (London), the Triskel Gallery (Cork, Ireland), Liveartmagazine (Nottingham and London), the National Review of Live Art (Glasgow), the Expo Festival (Nottingham), the You Are Here Festival (Nottingham), the Back Up Festival (Germany), and the Anti Festival (Finland). Fawcett has held solo exhibitions at the Space Station Sixty Five Gallery (London), the Elastic Residence Gallery (London) and the Inner Spaces Centre for Contemporary Art (Poland). Groups shows include the Chisenhale (London), the Arts Gallery (London), Alma Enterprises (London), Forum Box (Helsinki), the Central House of Artists (Moscow) and the Accademia di Belle Arti (Catania, Italy). He has undertaken residencies at HIAP (Helsinki), Coed Hills Rural Artspace (Cardiff, Wales) and the Inner Spaces Centre for Contemporary Art (Poznan, Poland). Fawcett completed a BA in Visual Performance at Dartington College of Arts in 2001, and an MA in Fine Art at Chelsea College of Arts in 2007.