Sculpture, Drawing, Video
I am interested in dialogue and discussion. Specifically the space in between when individuals try to talk to each other. It one listening to the other? Do they understand the importance of what one might try to say? Or, are both only going through the motions and the meaning and importance of what is being said falls into a space in between.
This Town is a Ghost Town
2010
Ink and Shipping Label
Lately I have been reflecting on a project that was done at the Pearl Street Galley in 2005. To open the galleries exhibition season that year 7 artists were brought together to brainstorm ideas for a group show. One suggested we do 1000 drawings in two weeks. This was a good idea but there was a lot of talk about what the rules should be. In the end the rules were limited to the number of drawings to be done, the time span to do them within and the paper size which was 5 inches by 7 inches. In light of those three rules more rules were implemented by each artists in different ways. The artists did this to help them solve the main challenge of doing 1000 drawings. By establishing rules that limited themselves they ended up putting themselves in a situation to be extremely creative and inventive. Many of the solutions challenged traditional interpretations of drawing and opened up the artist’s practice resulting in methods of working.
From time to time after this experience, I have continued to challenge myself in this way. Sometimes I do 100 drawings in a limited time period in one sitting. When I do them I if I see any problems in one drawing I will use the next drawing or even one 20 drawings down the line to resolve it. From this way of working I am interested in a new challenge of doing one mixed media drawing a day spending no more than 10 minutes on it. In addition to this I am going to limit myself to 5 inch by 7 inch paper. As this series progresses I will post images of the drawings.
1000 Drawings (Gallery Detail)
Mixed Media on Blank Note Cards
2005
For awhile now I have been investigating the influence of my experiences on the objects and materials that I use to make art with as well as why I am drawn to them and use them. I have found that the familiar experiences that I have had mainly with my Grandfather on his farm and my experiences in industrial settings have had the greatest influence on the visual vocabulary and personal system of aesthetics that I have developed to date. These experiences have been very instrumental in the building of my artistic repertoire and sense of aesthetics. Here I am going to present some images that I have looked at in this investigation. They span from 1997 to 2007.
I am interested in the stories that materials and objects tell us as individuals, especially those that are connected to our familiar experiences. What does a certain piece of wood, lead or felt tell you or cause, as a catalyst, you to recall? How do those materials, objects and compositions visually define experiences and construct a narrative that tells of one’s understanding of his/her experiences and is open to the viewer and his/her prior experiences and history. The Weight on My Shoulders and Hold it Softly explore the connection of materials and objects to my familiar experiences and the meaning that they contain on multiple levels and the resulting narrative of my understanding of my experiences.
The Weight on My Shoulders
Hold it Softly
One of the things that I am interested in my artwork is constructing narratives about activity, communication and experience. They are not mysterious in that the origin or the participants are not known, but they tell just enough so that the viewer gathers the information and is brought in by his/her connection to objects, materials, composition and narrative from his/her past experiences. The narratives and the artwork gain multiple layers of meaning and understanding because of this interaction. The narratives are in mid action or communication and are open to conclusion.
When I returned from the Vermont Studio Center in the Summer of 2006 I began to delve further into this area of investigation using some of the objects and materials that were a part of that experience. Parcel is one of a series of sculptures that explore the communication between individuals and the hidden or half seen objects and materials that define the dialogue.
Parcel
2007
Cardboard, Tape and Found Wood
12 x 9 x 14 in.
On Friday three of my new drawings were picked up to be transported to Beijing, China for a group show called Faces. The three drawings are done on panels that are prepared using a Renaissance technique of painting layers of gesso on the board, sanding and burnishing the surface. The reaction of the charcoal on the surface was interesting. At times it repelled the medium and at other times the soft charcoal etched the surface. On two of the works, Bridge and Push, I used a wet rag that acted like a brush and further burnished and polished the surface.
Tunnel
Push
Bridge
Vermont #2
2006
Oil Bar and Charcoal on Unstretched Found Canvas
Vermont #1
2006
Oil Bar and Charcoal on Unstretched Found Canvas
Hand Rubbed
2007
High Carbon Content Oil Bar and Charcoal on Found Canvas
Welcome to jasonswiftart.com. At this location you will find my artwork, artist’s statement, bio and resume as well as my contact information. In addition, you will be able to view artwork, learn about recent developments in the studio, scholarly investigations, exhibitions and other events surrounding my art.
