These paintings can appear at odds with their own pleasure. Like the arrival of a telegram boy at the door of long-ago households, they are greeted with conflicting emotions of the sheer joy of contact, of the search for meaning beyond grasp, and the possibility of loss. Mallarmé wrote about the "fury against the formless"; caught between raw emotive power and lyrical assurance, his poetry could seem both restless and passionate. The isolation on the white page made his words vital and coherent. There is awareness of that phrase in Jane; whether she knows it, I cannot say.
Martin Holman, Correspondences essay

Jane Bustin makes visually and physically spare works that can appear minimalist but in fact harbour layers of allusion. While her pieces are formally very considered and beautiful, they are also convincing in their wider references and strategies and she comes across as a thoughtful and intriguing artist.
Aidan Dunne, Irish Times

This could be a show of chilled vintage minimalism - the works are all diptych's, one monochrome rectangle abutting another -instead, it is a sensuous delight.
Martin Herbert, Time Out

... Jane Bustin embraces a commitment to representing what seems unrepresentable .... this pursuit of 'excess' is made to develop from a clear preoccupation with materials. ... she uses pure pigment, laying them onto her surfaces in order to create deeply chromatic effects and tactile sensations. She also employs differences of scale - with works ranging from under six inches to ten-foot long - and makes pieces which both follow the plane of the wall and also extend at ninety degrees to it. But such physicality is combined with the desire to produce poetic resonances, to evoke a level of meaning which cannot be reduced to intelligible significance. She creates an inner, glowing luminosity in her work...
Simon Morley, Extract from The Condition of Painting, Contemporary Visual Arts, issue 15

... Jane Bustin's small rectangular oil paintings - each one a diptych triggered by a neologism of Celan and constructed on a geometric grid - almost succeed in keeping their emotions under tight control, almost resist transcendence.
The paintings recall and may be influenced by other Jewish artists like Newman and Rothko, with a theological suggestion floating around that the numinous shall be abstract rather than figurative...