In this exhibition of recent works, Otis Jones continues his interest in the physical objectness of his paintings. Working with acrylic on canvas stretched around irregular shaped laminated plywood Jones invests in the physical history of the process by blatantly ignoring to hide the inherent truth within the work. As for example the staples used to the stretch the canvas to the structure have become an innate part of Jones’s textural vocabulary as well as the rawness of the laminated plywood that is exposed on the sides of each work. At this point the work becomes a mystery in determining its existence as a painting and object. As in a more “matter of fact” manner Jones is true to the visual nature of his process by conceptually preferring to allow the work to explain itself with the meditative qualities of the object and its making.
Following the opening reception, the exhibit will be on display through July 1.
In this exhibition of recent works, Otis Jones continues his interest in the physical objectness of his paintings. Working with acrylic on canvas stretched around irregular shaped laminated plywood Jones invests in the physical history of the process by blatantly ignoring to hide the inherent truth within the work. As for example the staples used to the stretch the canvas to the structure have become an innate part of Jones’s textural vocabulary as well as the rawness of the laminated plywood that is exposed on the sides of each work. At this point the work becomes a mystery in determining its existence as a painting and object. As in a more “matter of fact” manner Jones is true to the visual nature of his process by conceptually preferring to allow the work to explain itself with the meditative qualities of the object and its making.
Following the opening reception, the exhibit will be on display through July 1.
In this exhibition of recent works, Otis Jones continues his interest in the physical objectness of his paintings. Working with acrylic on canvas stretched around irregular shaped laminated plywood Jones invests in the physical history of the process by blatantly ignoring to hide the inherent truth within the work. As for example the staples used to the stretch the canvas to the structure have become an innate part of Jones’s textural vocabulary as well as the rawness of the laminated plywood that is exposed on the sides of each work. At this point the work becomes a mystery in determining its existence as a painting and object. As in a more “matter of fact” manner Jones is true to the visual nature of his process by conceptually preferring to allow the work to explain itself with the meditative qualities of the object and its making.
Following the opening reception, the exhibit will be on display through July 1.