Just as Jennie C. Jones’s paintings reimagine approaches to materiality and form, so too do her recent drawings break established structures only to reconstruct them in inventive ways. Playing with the staff, in works like Graphite Movement #2 (2021), she contrasts the musical device's precise linearity with wild, gestural streaks of pigment. Recalling the experimental avant-garde practices of artists and composers like John Cage, this improvisational composition re-presents musical notation as purely graphic while simultaneously translating mark-making into a booming, crescendo-like wall of sound.