2011 October Art Complex Museum - Duxbury Massachusetts, Exhibition

2011 September Matre Gallery Atlanta GA, Solo Exhibition

2011 June 25 - Galerie Rheinhausen Rheinische Post Jane Filer gestaltet Sommerausstellung

2011 April Cameron Art Museum Wilmington, NC - State of the Art/Art of the State

2011 February 10 Friendly Folks Unveiled at International baggage Claim Area

2011 RDU/ Triangle Area Sister Cities "Friendly Folks" Mural explained by Jane Filer

2011 February 10 - Friendly Folks Debuts - New mural is 8th artwork in Terminal 2

2010 October - Arts of the Albermarle Daily Advance Review by Robert Kelly-Goss

2010 July - News Release Raleigh-Durham Airport Authority Artwork by Jane Filer, Commissioned For International Arrivals Art at the Airport

2010 March Metro Magazine "If I won the Lottery" by Louis St. Lewis

2009 August 25, www.Squidoo.com "Jane Filer's Giant Head Sculptures", by Jane Peppler Pratie Place

2009 July 18, Dirty Footprints Studio Glendale, AZ , by Connie Hozvicka

2009 July 13, oh what a world, what a world... Lorraine Glessher blogspot

Post a review: eiNET.net

2009 April Jane Filer New Works at Tyndall Galleries TriangleARTS by Paul Hrusovsky

2008 September Art News The Haen Gallery

American Art Collector, "Tyndall Galleries, Calling Coast to Coast" August 2008

Jane Filer treasure found daily tesoroDiario April 23, 2008

2007 November Metro Magazine

2007 November ArtNews

2007 October ArtNews

2007 October American Art Collector

Pratie Place "Art Retreat with Jane Filer" words by Jane Peppler 4/01/07

Art Monkey August 2007 by Jeff Mahorney

2005 Top Ten Artists of North Carolina

Jane Filer "Artist's Artist" by Louis St.Lewis

Raleigh News & Observer, "I'm Talking To You About Light" Review by Diane Daniel

"Second Friday Gallery Walk Art Review" by Michele Natale News & Observer

"The Mannequin Ball Artist Review"

Jane Filer "Top Ten Artists" by Louis St.Lewis Metro Magazine

The Independent: "Artists Break out by Going Inward"

Jane Filer is well-known to Triangle gallery-goers, who will have seen her work in many group shows and in numerous solo exhibitions at Tyndall Galleries and various nonprofit venues. Filer has for many years been developing a distinctive personal style. With the work of the last year, that style has really jelled, and while it's no less filled with odd things, these paintings have a coherence that I had not previously felt from the older ones. This is her best body of work so far. The paintings assert their own truth, and that truth makes perfect sense--even when it is a donkey-headed man with ears like tall buildings who is telling you the story, and you have no idea what he's talking about.

I've always thought that Filer's work had a Chagall-like quality. She creates worlds where things can happen with a dream-like logic, worlds where a mystical spirituality is to be expected. She loves to play with changes of scale, not just within the picture, but within individual figures, and has now become so adept at this that it no longer seems awkward, but increases the fantastic effect. This new body of work also seems to have been inspired by the great color patchworks and wonderful little drawings of Paul Klee, and these Klee-like structures add considerably to the substantiality of Filer's paintings.

Her colors and her surfaces have developed a great deal, and are rich and complex in this new work. In some cases she collages in pieces of fabric for pattern or texture, but mostly our visual satisfaction arises from the good qualities of her painting. She combines wet and dry, smooth and scratchy textures. She both lays the paint on with a knife and brushes it; she builds up layers, then scrapes and draws back into them. Her palette is very warm--lots of golden yellows, oranges and reds--and this is part of what makes her bizarre worlds seem like places we'd want to go.

These worlds are full of psychic space, yet have almost no perspectival depth. Everything is flat, and the picture spaces are very shallow. They are filled with birds, fish and strange animals, and with monumental figures that may exhibit some of the traits of buildings around them. Architecture appears in all of Filer's paintings, and there is generally some kind of conveyance--a car, a boat, a spaceship. There are many things from current life, yet her pictures seem completely outside of time. Who knows what they mean? Probably not even the artist. But you don't have to know. You just have to feel.

April 25, 2001 Kate Dobbs Arial