New York 2009 — Gallery and Studio, “Discovering Janese Hexon’s Affecting Humanism” by Maurice Taplinger

“Indeed, one of Hexon’s greatest strengths is having the courage to invest in her human figures with a clearly emotional resonance at a time in art history when formal values are often privileged over expressive ones.  Her tactile relationship with her pieces–most of which are created in resin, terra cotta, or mixed media for ultimate rendering in bronze via the lost-wax casting method–lends them a raw power that harks back to the tradition of Rodin.”

Pittsburgh 2010 — Pittsburgh Tribune Review, “Inside Glance” by Kurt Shaw

“Figurative pieces all, her sculptures reflect a moody introspection, using subtle angles of the head, a gaze, or expression to convey the internal dialogue.  ‘This expressive approach engages the viewer to participate and interpret the work on an intimate and personal level,’ she says.

New York 2011 — Gallery and Studio, “Janese Hexon: ‘The Human Clay,’ Cast in Bronze” by Peter Wylie

“Whether it is the totem of fused faces in her ‘Distant Memories’ or the poignant parody of defensive hauteur in the single figure ‘Alpha-Omega,’ [poetic or lyrical qualities derived from an inherent respect of the human being] are everywhere evident in the sculpture of Janese Hexon.  And given her passionate, almost self-effacing, commitment to an eternal subject, it seems a safe bet that Hexon’s work will outlast the trends with which she now seems so much at odds, and endure.”

New York 2013 — Gallery and Studio, “Janese Hexon Merges Emotional Resonance and Significant Form with Seamless Finesse” by Ed McCormack

“‘My work is evolving into a a technique that exaggerates aspects of the human form, creating more emphasis and drama that makes our inner passions and contemplations accessible,’ the artist accurately states.  It would also be true to point out that she has found innovative new ways to combine the emotional resonance that has long been endemic to her representational mode of expression with significant abstract form.”