Interval

"The key to these monochrome works is Martin's use of aluminum brushes, cardboard or corrugated paper to rake the paint from side to side in a series of wavering parallel ridges. These vary in thickness and, in many cases, in value. They pick up light and create a greater sense of dimensionality. Also significant is the choice of support. The thick skin of paint or resin is applied to "canvases" of aluminum, Plexiglas or polished stainless steel; each of the underlying materials affects the movement of the paint differently. The effect recalls a damaged venetian blind. The combed ridges are not all the same width, so they give the effect of variegated stripes. The subtlety of the variations is best seen when picked up by the light, when it brings to mind Agnes Martin paintings without the spirituality" (E. Heartn, "Jason Martin at Robert Miller", in Art in America, December 1998).