The eleven compact paintings in Jennifer J. Lee’s “Wallflowers,” all dating from 2020, hang heavily on the white walls of Chateau Shatto, Los Angeles. Each work is around A4 in size and plays with layers of texture and detail, transferring source images of intricate scenes—stonework, crocodile skins, flowers, and seeds—onto an unforgivingly wide-woven jute. The slime-aged arches of Abbey, the blood-orange marble of Elevator, the baked psychedelia of Wallpaper—the unprimed material dims Lee’s colors as if with time. Read More