Exhibition Gallery

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Picture shows the gallery, including four of Jaynes’s seven installations on view. In the center foreground is Jaynes’s Gift#1 on display on a flat, horizontally-angled rectangular table with a dark wood base. A white and brown paper owl rests on a cylindrical stand to the left of a large open book under a rectangular, clear acrylic hood. To the right of the display with the owl stands Jayne’s Gift #5, a map representation of the travels the 19th–century blind surveyor John Metcalf. It is a vertically-positioned, large rectangular table composed of a a linen top and a light brown wood base. A multi-color grid, outlines of geometric shapes, and green porcelain geometric shapes adorn the linen top. In the center background, on the back wall painted off-white, is Jayne’s Gift #4, a visual transmutation after the musical work of blind African American musician Thomas Wiggins. It is three horizontal and three vertical rows of prints in a geometric interplay of greens, browns and yellows. To the right of the prints on the wall is a small wooden frame in which brass musical notes are displayed. To the far right background is a view of Jaynes’s Gift #6, the scent mechanism the olfactometer, in a niche in an off-white curved wall. The floor of the room is covered with a tan colored carpet.

Common Touch exhibition, looking southeast, in the main gallery of the Library Company, 2016. 2016. Photo by Gary McKinnis.

Picture shows Jaynes’s Gift #2, an interactive piece inspired by the physicality of the wooden writing frames and the abstract quality of letterforms written in the 1870s by Jennie Partridge who was blind. It is two oversized, horizontal writing frames, with felt backgrounds, mounted alongside one another on an off-white painted wall. Beneath the top of the frame are two evenly spaced horizontal wooden strips. Then there is a wider space and another horizontal strip. The left frame, with blue felt, serves as a mount for free standing, abstract letterforms constructed in darkly painted wood. The letters in the large frame on the right, with black felt, are more formally set within their indented image. The elaborate, enlarged letter forms spell out the phrase: “I know.” In the foreground is a case with historical materials. In the left background is the introductory text to the exhibition.

North wall of the Common Touch exhibition in the main gallery of the Library Company,  2016. Photo by Gary McKinnis.

Picture shows the top of a case displaying (left to right) two grooved writing boards in pink and black hues; two letters in manuscript; a box of small blocks with its slatted cover removed and beneath it; a reproduction of an illustration of Victorian writing frames; and an open book with white pages of raised print. The historical materials lie on grey linen.

Case of historical materials complementing Teresa Jaynes, Gift #2, 2016. Photo by Concetta Barbera.

Picture shows a woman, in the far left, holding one of five differently-shaped wooden geometric forms that rest on a wooden table. The top is covered in brown linen. Shapes include a trapezoid, trapezium, octagon, slant and flat-edged cylinder, and prism. The woman wears a black shirt and pants, and has her long blond hair pulled slightly away from her face.

Woman interacting with Teresa Jaynes, Gift #3, 2016. Photo by Gary McKinnis.

Picture shows the installation, which consists of nine screen prints across facing pages. They are displayed on wall mounted wooden shelves, spaced apart, in 3 vertical and 3 horizontal rows. The prints embody a visual translation of Wiggins’s music in a geometric interplay of greens, browns and yellows. Partially visible to the left is a wooden frame containing brass musical notes.

Teresa Jaynes, Gift #4, 2016. Photo by Gary McKinnis.

Picture shows the majority of the gallery, including four of Jaynes’s seven installations on view. In the center foreground is Jaynes’s Gift#1 on display on a flat, horizantally-angled rectangular table with a dark wood base. A white and brown paper maiche owl rests on a cylindrical stand to the left of a large open book under a rectangular, clear acrylic hood. To the right of the display with the owl stands Jayne’s Gift #5, a map represention of the travels of the 19th–century blind surveyor John Metcalf. It is a vertically-positioned, large rectangular table composed of a a padded linen top and a light brown wood base. A multi-color grid, outlines of geometric shapes, and green porcelain geometric forms adorn the linen top. To the left of the owl display is a partial view of a case of historical materials. In the left backround is Jayne’s Gift #3 inspired by the mathematical tools of the blind mathematician Nicholas Saunderson. It is a light brown table on which several large-sized wooden geometric shapes of different styles rest. In the center background, on the back wall painted off-white, is Jayne’s Gift #4, a visual transmutation after the musical work of blind African Amerian musician Thomas Wiggins. It is three horizontal and three vertical rows of prints in a geometric interplay of greens, browns and yellows. To the right of the prints on the wall is a small wooden frame in which brass musical notes are displayed. To the far right background is a partial view of an off-white curved wall. The floor of the room is covered with a tan colored carpet.

Common Touch exhibition, looking southeast, in the main gallery of the Library Company, 2016. Photo by Gary McKinnis.

Picture shows a rectangular-shaped wooden frame inlaid with unbleached padded linen. A hand-stitched grid of woven threads in green, pink, burnt orange and earth tones represent woodlands, moors, and rocky areas of the Yorkshire landscape. There are also strategically placed green ceramic forms symbolizing geological features. A stitched, print key at the base of the frame names the features: from left to right: ridge, summit, hill, slope, and hollow (oriented sideways and in the right in image). Represented in stitched outlines below, the shapes are two-dimensional renderings of the ceramic forms located on the grid. Below, embroidered knots form the words in jumbo Braille.

Teresa Jaynes, Gift #5, 2016. Photo by Gary McKinnis.

Picture shows the top of a case displaying (left to right) an open book of raised print; mathematical blocks with the upper case roman letters T,V, and L; a book open to a square-shaped illustration; a scrapbook open to a page with a paper pattern composed of a pink background with repeated rows of maroon colored crosses interspersed with rows of maroon colored squares; a sepia-toned sheet of paper on a red background; mathematical blocks; and a book resting vertically and opened to a grid-shaped illustration across from a page of printed text. The materials lay on grey linen.

Case of historical material complementing Teresa Jaynes, Gift #5, 2016. Photo by  Concetta Barbera.

Picture shows a woman standing in front of a niche in a wall. She wears a headset, its cord extending from within the nice. Her face is near a funnel at the end of a mic-like stand. She wears a black shirt and pants, and has her long blond hair pulled slightly away from her face.

Woman at Teresa Jaynes, Gift #6, 2016. The olfactometer. Photo by Gary McKinnis.

Picture shows a yellow painted wall on which only a wooden frame with a late 19th-century black and white cabinet card portrait hangs in the center. The portrait shows a couple. To the lower right is an open book of white pages, Jayne’s Gift #7, resting on a pedestal that juts from an off-white painted wall.

Southwest wall of Common Touch exhibition in the main gallery of the Library Company, 2016. Photo by Gary McKinnis.

Picture shows an open book with a blank page on the left and an embossed illustration of a snowflake encompassing the entire page on the right. The snowflake is geometric in form. It shows a central hexagon surrounded by six adjoining hexagons. Lines extend from the side of each hexagon with two decorative, symmetrically placed, short, tactile marks on the end.

Teresa Jaynes, Gift #7, 2016. Photo by Gary McKinnis.