Brian Fee reviews the exhibition Jane Fox Hipple: Corresponding Selves at DODGE Gallery, New York, on view through October 27, 2013.
Fee writes that Hipple "contorts and pushes the limits of painting and total composition... [she] stretches relationships furthest with a duo of two-part works, including always on the lookout & Honeypot, positioned near the back of the main gallery. How do we read it? The oversized, stretched canvas, roughly stapled to a wooden frame and reversed to the wall, plays the recurring compositional stand-in. Beyond a few vague brushstrokes and a chunk of charcoal-like wood affixed dead-center on the canvas, much of the media is relegated to glossy pellets in the bowl (Honeypot), like a painterly poltergeist expelled them from the canvas... That daub of cream-colored acrylic on the bowl's edge further alludes to the artist's hand, either a sign of completion or prelude to action. It's a vibrant composition, and it hints at the notion that Hipple's dialogue, on abstraction and the whole act of painting, is far from over."