Amorelle Jacox, Mothers of Time, 2026. Installation View.

Time flits along the edges of Light as it shapes our days. It hovers in the Shadows of sundials, licks the Numbers on the clock, and deepens ever-outwards from the womb of the Cosmos. It juts out of Movement, of the primordial beginning, pushing Matter ever-onwards with the days and beckoning everything back to its mysterious Void. — Amorelle Jacox

Management is pleased to present Mothers of Time, an exhibition of seven new paintings by Amorelle Jacox, opening on April 29, 2026. This is the artist’s first solo exhibition in New York.

Jacox’s practice is driven by a metaphysical and poetic inquiry into the self’s entanglement with the world it inhabits. Time, space, and matter function as recurring coordinates in works that move fluidly between figuration and abstraction. Drawing on Surrealism and color field painting as much as natural phenomena, her work unfolds intuitively, as a direct mode of inquiry. In Mothers of Time, Jacox imagines time as being born of seven mothers (Light, Shadow, Cosmos, Void, Matter, Movement, and Number), together forming a landscape of ontological ancestry.

Jacox considers time’s origins through seven figures that surround the gallery like the ticks of a clock face. They meet us from time’s edge, rendered by Jacox as a prismatic architecture built from her singular visual syntax of hourglasses, triangles, ellipses, spirals, and hovering bands of deep color. In these works, body and time are collapsed, blurring anatomy and hour—as if duration could move, heartbeat ticking. Her figures not only inhabit time but hold it, stand on it, carry it in their being. For Jacox, time is not a separate entity but multitudinous, embodied, and felt.

In Jacox’s works, time is born from and bound to Light, Shadow, Cosmos, Void, Matter, Movement, and Number, each turning into the others in circular, cyclical relation. Units of measure are rendered fluid, exceeding human systems of quantification. Some of the mothers are haloed with a color wheel, imbuing time with a sacred charge. Made of seven colors, these spectrums carry their own measure, echoing the days of the week and the exhibition’s seven figures as they turn beneath the septapedal Movement (mother) and reappear, smaller, on each big toe.

Working before a large window in her Greenpoint studio, Jacox slowly builds up the surfaces of her canvases through thin layers of Gamsol-saturated oil paint, pulling the sun directly into their creation. The appearance of color wheels in these paintings also draws from the studio, where crystals hang in the window, casting shifting glints of prismatic light across the wall and onto the canvases. At the edges of each work, traces of earlier layers remain visible, referred to by Jacox as “early time,” or a material record in which the beginning of the painting remains contiguous with its end. Across these paintings, her highly intuited palette is broader and more varied than in earlier works, reaching toward deeper registers while retaining command of color’s flickering luminosity and material presence.

In Mothers of Time, painting is a place where beginnings remain open-ended, where figures appear less as subjects than as presences, beings that speak through the materials that compose them. They emerge as both timekeepers and instruments, and together turn the exhibition into a measuring apparatus, a metronome held across bodies, space, color, and light. Time becomes bodily and cosmic, slipping free from proportion, so that days and years, length and distance, infinity and minute share the same plane in paintings that open like portals into another scale of perception.

— Amber Collins