Though she works on small gouaches as preparations, when she paints in oil Jaffe inscribes her forms very large, on canvases that are more often than not, larger than a person. At this scale a longish shape may seem more like the traces of the trajectory of her drawing arm, as in an Abstract Expressionist painting. Yet, as if she were painting a geometrical abstraction, Jaffe eschews bleeding edges or almost any changes in density or atmosphere. With hard, clear edges, and flat grounds, she depends on the presence and location of discrete shapes whose structures themselves must yield up movement.
— Rosenthal, 2000.
