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Images (Fig. 36 and Plate 6) we see his indebtedness to Skunder´s linear vocabulary. Jones uses florescent acrylics on plaster heads painted black. the features of the respective faces are distorted with shapes and patterns of warm and cool colors, abstracted further by perforated lines. These lines create a rhythmical effect; this coupled with the interaction of the cool and warm colors create forms that are both sculptural and painterly. Jones´ use of lines which at times define or destroy the features of the faces are not unlike the sculptural statement of Adebisi. Either the Afro-American artist follows traditional African modes in making strong volumetric forms or he emphasizes linearity. Jones´ work provides an interesting synthesis of the work of Skunder and traditional African face painting and sculpture 

Skunder has digested the visual-plastic vocabulary of traditional African sculpture perhaps better than any other contemporary artist. And it is through him that the Afro-American artist has been able to go beyond such literal representations of black circumstance as Palmer Hayden's Fétiche et Fleurs (Fig.17). Besides Jones there are a number of other artists whose works are influenced by Skunder; some of the most important ones are James Phillips, Ed Clarke, Rosalind Jeffries, plus others who do not as yet possess the power and vocabulary of aesthetic surface to receive notice beyond their immediate circle.