Dupont writes: "Serra's use of paintstick and insistence on drawing as black poses an interesting dichotomy with the metal plates of his sculpture... the surfaces [of his sculptures] are in fact incredibly painterly, with texture and color on a thin skin that is delightful in spite of what I am sure is Serra's desire to the contrary... The irony of the paintstick drawings is that the works with literal paint are less 'painterly' than those mad of lead and steel plates. He can investigate visual mass and density without the distraction of color that an elegant patina of rusted steel imparts... It is as if Serra is so intent on demanding that the viewer physically experience the work that he must degrade any mere representation to highlight just how poor a substitute it is... Even while making work that completely challenges every idea of what the medium is, he simultaneously engages with what the medium as a basic underpinning for his entire practice."
Compared to his contemporaries, Brice Marden and Terry Winters who share a "specific and identifiable interest in their respective thorough procedures," Dupont writes, "Jensen has remained restless and constantly searching within his painting practice, forgoing the comfort of signature subjects to focus on the process of making a painting... His quest for a single image yields tendencies, not anything that could be described as a brand... His works remain easel sized, and even at their largest, speak in a voice more intimate whisper than bombastic shout for attention. Quiet and unassuming, he is content to allow his pictures to stand for themselves, and as they always seem to be moving, the artist becomes hard to pin down."
Edited by artist Brett Baker, Painters' Table highlights writing from the painting blogosphere as it is published and serves as a platform for exploring blogs that focus primarily on the subject of painting.