“I am constantly in limbo,” Jillian Evelyn tells me on a summer day from her studio in Los Angeles, a relatable frame of mind for the times we live in. I have always considered Evelyn’s work to possess directness, as well as providing room to breathe. Her often partially clothed women champion a sort of prideful ownership of self but also a universality that radiates a sense of independence with which we all can identify. Her new exhibition, Connecting the Dots, on view at Hashimoto Contemporary LA on November 22, links a connection to her past work, but the changes are palpable. In lieu of social media censorship and a little nod to John Baldessari, Evelyn has created a body…