Punct, ink on paper, 410cm x 154cm

Andrea Medjesi-Jones' paintings and drawings are reliant on the materiality and the processes of its making. Their non-representational nature establishes simultaneously a language of paint that is neither abstract nor figurative but appropriated and specific to the event of its making. This approach sees the image develop as a thought process that is temporal and intuitive, surpassing the predetermined visual narratives or categorizations that could limit the work's potential.

Punct (detail) 2009

The relationship between paintings and drawings in Medjesi-Jones’s work is carefully built and scrutinised. She develops a dialogue between the two, suggesting a complex relationship between surfaces and movement that is not only subject to formal interpretations but also gathers its information from the very incoherence of the visual world looked through the prism of time and memory. This at times personal take on the elusiveness of image and its relationship to the material world is affirmative of the practice that negotiates its way through critical understanding and the representation of contemporary painting.

Medjesi-Jones has been working on a series of scroll like drawings that traverse between gestures and movements, tracking the genealogy of line that is both conflicting and concordant. Through layers of ink and squiggles of ball pen, the systems that emerge are close to mental landscape of memories and thoughts with its focus re-locating depending on where you are stood to look at it. Details become strategies and anchoring points to hold the eye still, suggesting the inconstancy of perception and the inevitable shift of movement. The drawings are conceived as anti-architectural propositions, economising the use of space with erratic and disperse innervations all over the surface, suggesting the apocalyptic or broken image vulnerable to the events of the material world it is exposed to.

Debaser, ink on paper, 350cm x 154cm