Prayng Hands. 2006.

Reece Jones uses charcoal, layer upon layer of it. His drawings look as if they have been made with a ruler, but the vertical striations covering each surface like a veil are actually caused by dragging sand paper across the charcoal; this unusual form of erasure removes gestural quirks and reduces definition to produce images that are mysteriously atmospheric. Repeating the process again and again creates a lush surface in which misty greys and velvety blacks (which are surprisingly shiny where the carbon has been allowed to accumulate) are dramatised by the whiteness of the exposed paper; but despite the visual fireworks, the insistent verticals influence ones understanding of each drawing.

Sarah Kent. Time Out Magazine / Issue 1771 / July 28 – August 4 2004

Drift. 2006.