Gray dominates Jennie C. Jones’s paintings, seven of which comprised her exhibition “Amplitude.” Cool and crisp, it is the color of the sound-absorbing panel layered atop canvas in Dark Tone, Red Pause, Gray Hush; warm and woolly, it is the color of the rectangular panel that she uses as her base for steely stripes of acrylic in Gray Measure with Muted Tone Burst; light and tinged with blue, it streaks a ground of white in Emanating Hum (all works 2016). But it is never just a color. Gray, Jones has written, is a “non color all color mixed together with a drop of light,” a “reflection of multiplicity, of the anti-essentialist times we currently occupy.” It is also, she reminds us, “the color of concrete.” In other words, Jones’s grayswhether they are slate, heather, drab, or pearlyare always weighted.
Jones is a powerful wordsmith, one who approaches language as yet
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