Kelly Lynn Jones & the New Sprawl

There are echoes of a slow-burning Lucinda Williams record in the work of Kelly Lynn Jones. Raised in the suburbs of California, Jones gives a much-needed corrective for the nihilistic sheen that Botox and convertibles have given that slice of the West. “A New Frontier” (opening at LA’s Little Bird Gallery this Saturday) is an exhibition of Jones’ paintings that (instead of taking cheap spots at the construct of American neighborhoods) explores the universal isolation of these communities.

Rather than provide biopsies of the land’s denizens, Jones considers their dwellings, finding them vacant or hauntingly devoid of life. It’s fitting, then, that her primary media are pencils, house paint, and acrylic paint. The sparse minimalism in Jones’ work depicts buildings that lack a sense of unity and interaction – and ultimately, upon surveying her pieces, you feel that Jones is much like an archaeologist, attempting to demystify how a culture that promotes togetherness has made such awkward aliens out of its inhabitants.

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