Jason Martin was first on
the art scene in the 90s, he is led by gesture painting, similarly to abstract
expressionists Jackson Pollock and Franz Kline, however is interested in the
idea of monochrome paintings, also linking him to the work of Yves Klein. The
subject of his piece is a often a singular movement or brushstroke, stripping
painting back to its complete basics.
Martin’s huge aluminium
canvases are thickly layered with oil paint resulting in them still being wet
when viewed in exhibition. This is an unusual way to view a painting, appearing
almost still a work in progress. The works appear simultaneously spontaneous
yet precisely executed, due to the grooves and crevices created by the handmade
brushes. Martin’s work is dense and heavy, the thickly applied oil paint
creating a three dimensional image. In the press release I received at his
recent exhibition at Lisson Gallery, London (2016), his investigation into
painting is discussed. Paint is the motive for his work, exploring the physical
qualities and way he can manipulate it.
As the light hits the work, the viewer is
taken deep into the crevices of Martin’s seemingly giant brush strokes. They
way Martin leaves his process of making abundantly clear, is what is so
intriguing about his work.
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