Jennie C. Jones’ Jones’ minimalist Acoustic Panel Paintings incorporate noise-absorbing acoustic panels into their compositions, encouraging viewers to anticipate sound even in the quietest of environments. Indeed, the artists states...
Jennie C. Jones’ Jones’ minimalist Acoustic Panel Paintings incorporate noise-absorbing acoustic panels into their compositions, encouraging viewers to anticipate sound even in the quietest of environments. Indeed, the artists states that the acoustic panels in the paintings are always “active.” “I always say they’re active even when there’s no sound in the room,” she explains. “They are affecting the subtlest of sounds in the space—dampening and absorbing even the human voice.”
In recent paintings in this series, Jones continues to expand her research into the sonic, illustrating aural experiences visually through innovative approaches to geometry, color, and materials. In Bright (Red) Gracenote (2020), which incorporates felt into its composition, she constructs a monochrome, painting the entire picture plane a bright red—an embellishment much like the trill of a grace note. Pushing against the idea that this gesture is a reductive one, the artist explains that the labor of creating an evenly saturated surfaces—removing the hand—is actually a “maximalist process.” Ultimately challenging the connection between Minimalism and the reductive, Jones queries, “Reduced from what? The idea of lack can be turned on its head in order to be perceived as pure potential and opportunity. That maybe relates directly to African American improvisation and creative utility, to working inventively with spare means.”
2020: Jennie C. Jones: Passing Tones and Broken Chords, Alexander Gray Associates, Germantown, NY
Furlong, Adriana. "Jennie C. Jones: Passing Tones and Broken Chords." The Brooklyn Rail, September 2020