The interlacing bars of color in Jaudon’s Ingomar resemble Celtic or Islamic designs. Jaudon was associated with the Pattern and Decoration movement of the 1970s, which critiqued the prevailing viewpoint that decorative art objects, motifs, and techniques were superficial when compared to the conceptual basis of the fine arts.

Jaudon’s paintings explore the perceived boundary between these two approaches to art, combining the beauty and intricacy of decorative design with the theoretical processes that underpin abstract painting.

Although her designs are symmetrical and precisely drawn, Jaudon applied paint with vigorous brushstrokes. The ridges and valleys of copper-colored paint in Ingomar catch the light and emphasize the careful handwork required to create the painting. Jaudon titled her paintings made in the 1970s after cities in her home state of Mississippi (Ingomar is a town located in the north of the state). This random naming system was intended to deter the perception of the paintings as descriptive or narrative.