In the Hall of the Crane Arts Building, artist Karl Jones lines the corridor with relief sculptures and installations that call to mind a personal memoir, bits and pieces of Americana, and the abandoned scraps of objects and ideas from all manner of sources. The show entitled “Repertoire Revised” provides a unique, tactile exposition of signs and symbols that speak to a wide range of interests and experiences.

Karl Jones, “Passing On.”

One of the most recent works by Jones (some individual artworks or components of installations date as far back as 1982) is called “Passing On.” Two blue figures – a man and a woman – stand on either side of an equally cerulean tree trunk, its top dotted with, not leaves, but vinyl records. The center of each record is a circle, also in blue, and the ground is covered in these fallen discs as well. As a nod to the tree of knowledge and the story of Adam and Eve, a red record – the only one – is in the process of being handed between the couple as a pair of flying fish frolic overhead.

Karl Jones, “On My Sprue Tree.”

Like the characters in this tree scene, the dissected body of a pinkish-colored man in “On My Sprue Tree” is coated in a surreal, pastel hue and heavily textured with Japanese rock garden-like patterns of tiny, concentric lines. The human form here lies splayed as if part of a breakaway model kit, hinting at Jones’s interest in modeling, structure, and construction as well as invoking the hidden mechanics of fate which bind us in place, often despite our wishes or aspirations. An empty guitar case rounds out the piece, a reminder of musical notes in an artwork whose layout strikes chords of pattern and rhythm while remaining ultimately silent and static.

Karl Jones, “The Big One That Got Away.”

For “The Big One That Got Away,” Jones drew from two older works and augmented them into one installation. The scene is amusing, if somewhat jarring, and some might say even a bit irreverent. A crucified figure hangs tied to a wooden cross, his lower half wrapped in transparent plastic, his obnoxiously yellow hair long and unkempt. Both hands are spread apart as if in worship, but with the addition of a gigantic blue fish drifting lazily by, the extended arms seem more like the gestures from a fisherman’s tale of the exaggeratedly tall variety.

Karl Jones, “Portrait Of Old Bess.”

Elsewhere, Jones dabbles in more model-like explorations without the baggage of figurative representations. In “Portrait Of Old Bess,” the front fender, headlights and Ford logo of a pickup truck are spaced apart but joined with a network of painted sprue tree connections. Judging by the craftsmanship and the pet name of the auto in the title, this front end is likely deeply meaningful to the artist. Perhaps a first car or one which Jones spent a good deal of time and effort working on, this image seems more pious than even his rendering of the cross.

All of these and more sculptures by Karl Jones will hang in the Hall of Crane Arts through November 2 with a Second Thursday reception on October 10 from 6-9 p.m.

Crane Arts is located at 1400 North American St., Philadelphia;  [email protected]; cranearts.com.