Reviews and Critiques

2015 Art is Spectrum, May 2015
    Jane Magarigal's work is notably capable of being energetic and meditative, complexly
    detailed and somehow minimalist.  Her works combine the elegance of geometic
    abstration with the dynamism of Italian Futurism.  They are surreal, symbolic, and
    narrative: weaving tales with a striking tableau of patterns and shapes.  Her works read
    like celestial constellations, full of life and interpretive meaning, speaking to the
    interconnectivity and compartmentalism of the universe and its many factions.  As
    complex and comprehensive as they are, Magarigal's ink works retain a suprisingly
    controlled color palette, one that is stylistically cool and, at times, almost monochome.
    In these ways, Magarigal has established an oeuvre that is unmistakbly her own.

    Magarigal's goal is to inspire conversation on the relations of people and their
    environments.  With interwoven patterns, overlapping shapes, and reaching colors, her
    work exemplifies the interaction of all things.  Magarigal's art background extends back
    to her childhood doodlings, but was ultimately reignited after a near-death experience
    found her searching for an outlet to express herself: her times, places, and environments.
    Her stores.  These stories are informed by her history as a documentary photographer,
    trained sociologist, and social theorist: a background which taught her the connections
    and disconnections in our world and various concepts of compartimentalization,
    networking, and human boundaries.
2014 Press Release, Agora Gallery
     California-based artist, Jane Magarigal, creates incredibly complex and dynamic
     compositions of swirling abstract forms using the often overlooked medium of
     scratchboard, which gives her work added sharpeness and texture.  Created by
     cutting into layers of ink applied to a sheet of clay, this process produces formal
     qualities that evoke etching and drawing.  In works traversed by clouds, clusters
     and swells of geometric forms, Magarigal calls to mind Cubism, Kandinsky and
     Julie Mehretu, though she considers Japanese and Middle Eastern calligraphy to
     have exerted an even greater influence on her indelible aesthetic.

     Her work reward both close and distant viewing, the round shapes of large,
     swirling forms -- which suggest landscapes, winds, currents of microscopic cells
     or more abstract forces -- being made up of smaller rectangles and ovals.  This
     juxtaposition of tightly packed shapes within larger streaking and shifting bodies
     creates a delectable tension.  Magarigal heightens such qualities through
     contrasts between light and dark areas of her etched ink surfaces, and splashes
     of color that boost each composition's palpable dynamism.  In addition, her
     work boasts a delightful rhythmic, musical quality, perhaps as a result of the
     artist's early years spent in and around the music world

2013 ARTisSpectrum
    Jane Magarigal says that she was born an "obsessive compulsive abstract doodler," and
    while that self-description reflects both the spirit of playfullness, and the precise lines,
    shapes and compositions that are found in her images, it tends to play down the deeply
    original form that her "doodles" take.  Working on scratchboard, a clay-based medium
    that Magarigal's hand produces the kind of shading, depth and clarity found in etchings,
    she takes a form that she says has been discounted as "an elementary school too," and
    lifted it to the status of fine art.

    Magarigal's works achieve much of their power from her ability to manipulate line,
    composition and color.  "Interacting lines and objects are the primary way I tell my
    story or express my ideas," she notes.  She also uses symbols, which sometimes take
    the form of representational objects, to convey her thoughts and messages.  And while
    there is a powerful sense of motion in her images, Magarigal's light effects and pastel
    shades give that motion an almost ethereal glow.  But perhaps most important for the
    artist is the conversation her works initiate with the viewer.  "Despite my reasons for
    creating what I do," she says, "I really enjoy the stories that viewers discover for

2012 John Harper - Master Printmaker - Shasta College
      "I went to your show.  I ordinarily don't sign books, but I signed yours.  Good Work."

2008 California State Fair Fine Art Competition juror’s statement, Yoshio Taylor:
     "I kept gravitating towards Adopt A Straving Artist Vending Machine.  It is a humorous,
     intriguing, and fascinating piece, and the more I paid attention to the details of the work,
     the more I was intrigued by it.  I consider it a very successful work of art."

2005:  Scott Shields, Chief Curator at the Sacramento Crocker Fine Art Museum
     "I don’t know if this student is a genius or completely crazy.”

2004: THE LANCE, Redding, California: Interview

2003: Redding Record Searchlight, Redding, California: Interview

2003: California State Fair Brochure, Sacramento: 
      Juror Kelvin Curry, Judge and Printmaker at San Jose State, California:
      “Reveal III utilizes incredible tones and organic shapes.  Printmaking at its best, and the
      framing is excellent.”

2002: Sacramento Bee, California, Victoria Dalkey, Bee Art Corespondent:
     Also  compelling and inventive is an arrangement of rectangles and squares in skin tones
     by Jane Magarigal of Lakehead in Shasta County.  Titled “Self Portrait: Skin Deep,” its
     parts are labeled with words denoting physical and intellectual  properties, the passage of
     time and the realm of the spiritual.  It’s a fascinating self-portrait that turns the skin inside
     out to examine deeper  issues.”