As a supermodel, pop star, Bond girl, artistic muse and artwork in herself, Jones is a one-off. Photographers and artists love working with her. Andy Warhol’s Grace Jones – all red lipstick, fierce flat-top and pink backdrop – is one of his last great portraits. Helmut Newton wrapped her in the arms of Dolf Lundgren to recreate Adam and Eve as a modern-day designer muscle couple.
Keith Haring body-painted her into a parody Masai warrior. Perhaps most famously of all, Jean-Paul Goude shot her as a rippling racehorse – virtually naked, standing on one leg, bronzed and oiled, microphone in one hand, right leg raised at 90 degrees to meet her right arm – it is an astonishing image, albeit famously faked.
Now she is working with Chris Levine, another artist straddling sculpture and photography. In the corner of the room is a huge multicoloured image of Jones with her eyes shut. Stand at different distances and angles, and the image changes. This 3D photograph, made up of 30 images of Jones hit by lasers, has the wizardry of a hologram and the humanity of a classic portrait – Madame Tussauds meets Irving Penn.