At first glance, the work of Samuel Levi Jones appears to be steeped in the tradition of constructivist or at least orthogonal abstract painting. A variety of coloured rectangular surfaces join and overlap to form a dynamic ensemble. And yet, these are not paintings, but groupings and collages of fragments of fabric that the artist has chosen and stitched together. These fragments come from a deconstruction, a pillage. Jones meticulously skins the bindings of outdated books which are supposed to assert their authority in their field: medicine, history, law. He also makes use of materials from other domains, such as American sport.