Jane’s paintings point to an underlying belief that art is a state of soul. Incorporated into this belief is the proximity of the spiritual to the material; her recent works are not merely paintings but art objects whose surfaces cherish both the decoration upon them and their physicality.
These are colourist prints and paintings that could be transported as though personal icons, but, embedded with the histories of their own production, their iconography becomes suggestive of the importance of the art-making process to the artist. The narratives here are thus double-sided. There are both the narratives if the art objects’ histories and the narratives which the paintings themselves depict.