Bird Houses
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Falling Closer
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First Fall
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Smoking
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Jayson received his diploma from the Alberta College of Art and Design in 1998 with a major in printmaking. He studied the techniques of Intaglio and Lithography in great depth while also exploring the art of drawing the figure from life. It was while experimenting with monotypes on an etching press that Jayson found the perfect medium for the expression he desired.
Jayson's work follows the fluid lines of nature and life. The unpredictable disposition and finality of the monotype relate directly to the harsh reality of the natural world and the true beauty of the human figure.
What is your artwork about (underlying concept, focus, themes, intent, etc)?
My most recent work has been a pondering of how our world would look without us. How would our landscape change? How would nature react? Would we leave black polluted skies, and rivers in our wake? Or would our structures simply act as a lattice for the earths’ resurgence? I think there can be an aesthetic in that. A kind of calm in response to the reality we live in.
What informs your artwork or what are your influences?
Lately I have found myself heavily influenced by the work of the Japanese printmaker Hokusai. But David Blackwood, Kent Williams, and Andrew Wyeth have also been big inspirations.
What matters to you most about the work that you do?
That I am challenged. That’s definitely my attraction to printmaking. It never gets boring. Trying to find the way to create your vision given the limitations of the process, is like solving a puzzle. The personal reward for a successful piece of art is what keeps me coming back for more.
Do you feel you need to position your work within the context of art history and if so what’s your take on that?
As I mentioned before I have definitely found myself influenced by Japanese printmakers and printmaking itself is a media that is very loaded with history. But I don’t feel that my motivations as an artist need to fit within the context of that history. I enjoy the idea of borrowing a historic aesthetic and twisting it to a modern theme.
Is there a trigger or a starting point for each piece?
Ideas come to me at any time. Often the least convenient. Keeping track of them is the tricky part. I try to record them in my sketchbook for a later date. Often that idea is morphed into something better by the time I am actually working with it in the studio.
How has your work evolved over the last five years?
I think I have become less serious. I have realized that art is about having fun. Doing so has let me broaden my scope on subject matter and process. I no longer consider myself just a painter or a printmaker. If I have an idea that requires me to become a sculptor or glass blower, then that is what I will do.
How does your physical/geographical environment inform the work you do?
I relate very closely with the environment around me. It plays a large role in my artwork. I recently moved to Vancouver island and am discovering a whole new way of being in nature. Having been a prairie boy all my life so it is a big change!
What mediums, techniques, or processes are involved in your art making (and why these)?
I recently have found myself working with serigraphy (silkscreening). But I am also drawn to monotypes. Single impressions from an inked surface. I try, however, not to limit myself to one media and have found myself working with acrylics, oils, even stained-glass in the past.
What are your other passions in life and how have these influenced your work?
I love to travel. Seeing how other artists work in other parts of the world. Their process and inspiration. Even their ability to survive. I find them to be a great inspiration.
Why are you an artist?
The rewards for being an artist are great. The personal payoff of a successful piece can’t be beat. That high can be accompanied by equivalent lows when things aren’t going so well. But the effort is always worth it.
Selected Exhibitions
| July 2007 |
"Fresh Ink" |
Axis Contemporary Art |
| December 2006 |
"Tangle" |
Rectangle Design Headquarters |
| November 2006 |
"The Big Little Show" |
Uppercase Gallery |
Education/Professional Experience
| 1998 |
Diploma in Visual Arts (Printmaking) |
Alberta College of Art and Design |
Awards/Scholarships
| 1996 |
Illingworth Kerr Travel & Study Scholarship |
Calcutta, India |
| 1995 |
ACAD Printmaking Travel & Study Scholarship |
Nicaragua |
Memberships
- Burnt Toast Studios Printmakers
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