Painting, collage or installation? Jasmine Justice playfully plumbs the boundaries of painting, moves with them around the room and overcomes the narrowness of supposed categories. She emancipates herself from the traditional genre’s concept of painting, absorbs images, characters and visual commonplaces of her surroundings and the world of media, in order to rearrange them in her painting, to refine and to open new perspectives. The paintings are often embedded with graphic lines, which at first have a strict sensibility but upon further inspection can be rough and even at times rude. The hand-hewn quality of these written or drawn marks is in conceptual alliance with the Justice’s myriad brushwork.

Geometry and statistics are combined with associative abstraction. Justice adapts in her drawings stock charts, weather forecasts, recordings of Drone flights, oil fields in the sunset and similar structural visualizations. She breaks through their orders, mostly discarding or inverting the original content, but sometimes a scent of a photo or infographic’s origin is retained for poetic purposes. The intellectual depth is her works yet fully present as the squares threaten to dissolve the brush stroke and thus become hybridized conglomerations or meta-images, or If Jasmine Justice formulates a “no go” and cancels her own assemblage by radically spanning an X over the image.  Justice brings us a critical yet humorous view of a world that is awash in information, greed and irony.

Kienzle Art Foundation is pleased to present Jasmine Justice’s first solo exhibition in the foundation after participating in three of our group exhibitions.

We would like to point out the exhibition One Million Mirrors of Jesse Farber in cavuspace, in which two Jasmine Justice’s works are shown.