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was not easily put off, visited her in a shower of gold, and she subsequently bore his son, Perseus. On one section of Jordan’s nude, the light glowing from the reclining figure shines like gold. Even in the titles of her pictures, she mentions colors on six occasions.
Jordan doesn’t have a favorite color and the combinations she uses are one of her means of drawing with a brush. In addition to experimenting with a variety of color combinations, she pays attention to composition. Even when a canvas emphasizes primarily one or two painted areas of purple, pink, green or blue, for instance, she applies other contrasting or combining colors to make a balanced picture plane. Her efforts in this direction are successful in most cases.
When Jordan selects a landscape to paint, her response to the scene is more beautifully expressive of what she cares about than are her figure paintings. The landscapes portray space in a way the figure paintings do not. Her bodies don’t reflect their reality in space; rather, they show us posed workshop models. In the tradition of figure painting, even when abstract images are included, the artists invests people with meaning through their expressive poses, situations, costumes and relationships with others as well as with the handling of paint. I hope that in the future Jordan will show her sitters in outdoor and workaday settings to impart meaning to them.
The paintings on show are for the most part new products of a somewhat different character from Jordan’s previous work. She is not resting
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