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Art & Life with Jason Smith

Today we’d like to introduce you to Jason Smith.

Jason, please kick things off for us by telling us about yourself and your journey so far.
I started drawing at a very young age. At community college I was encouraged to pursue art much more seriously. I graduated in December 2010 from URI Summa cum laude with a bachelors in Fine Arts and concentrations in drawing, printmaking (Intaglio and stone lithography) and digital art & design. I supported myself through school and beyond by working in the construction excavation field.

My initial ventures into the professional world were submitting to and participating in juried museum exhibitions namely the Attleborough Art museum and the Newport Art museum. I also did commission works, graphic design work and was granted in 2014 my first solo exhibition “Outer Myths” at the Newport Art museum for 2016. Around the same time I was invited to join Hera gallery and had the “Myths & Revelations” exhibition in November 2014. In September 2016 I had another exhibition at Hera gallery called “Lost Races: The Americas” which earned me the current exhibition “Origins” from Edmund Barry Gaither at the Museum of the National Center of Afro American Artists (NCAAA) in Boston.

Can you give our readers some background on your art?
My current work is using oil and acrylic paint markers on 18″x 24″ Dura-Lar (Mylar x acetate) a contemporary archival surface that won’t yellow over time. This luminous pigmented work involves a layering stipple process focusing on spot weight; color palette, image size, and varying ranges of solid space. I try to blur the lines between drawing and painting. They are professionally framed and given varied colored 2″ mattes to accentuate the colors used in the work.

My work is based on the research of obscure ancient cultures around the globe and their mythologies or religious customs that link with found artifacts and archaeological evidence in the form of relief carvings, codex’s, sculptures and monuments, then combining their influence with a natural creative intuition. I am inspired by discoveries of ancient advanced technology that defy Darwinism and our metaphysical timeline.

I hope to open people’s eyes to aspects of our history that helps to understand who we are and what we came from. I like to give a well-rounded finished product that covers all the points of Fine Artwork but makes you think and question and appreciate the layering of details.

You should know a lot of time and deep thinking go into the forming of any work that I produce. The reference images are not random and I read extensively on the topics I select to base artwork on.

What responsibility, if any, do you think artists have to use their art to help alleviate problems faced by others? Has your art been affected by issues you’ve concerned about?
The biggest challenges would seem to be time and funding for art. People have to put in 40 plus hours a week just to live and that breaks down to very little time a day only so many hours a day after 9Maybe being recognized before having their ideas stolen and used by a more established entity. I’ve seen talented artists get consumed by teaching others, caring for their families and doing whatever they have to do to pay bills and all that takes away time to produce good quality art. Quality art materials are expensive and add up very quickly when purchased in bulk. It is also a very very competitive field and art is very subjective. You also run into demographic issues or you just go against the grain and carve out your own niche to stand apart from the rest.

What’s the best way for someone to check out your work and provide support?
I currently have an exhibition called “Origins” with 26 paintings on display at the National Museum Center of Afro American Artists located on 300 Walnut Avenue, Boston, MA. The hours are Tuesday through Sunday 1-5 pm. People can support my work by making serious inquiries about the work or requesting to be informed via email about exhibitions and newsworthy happenings. I am open to commission work as well at various sizes to hopefully offer people something at a more affordable price. I also am a member of Hera gallery located at 10 High Street in Wakefield, Rhode Island. There will be new work at an exhibition opening on September 10th, 2018 6-8 pm. It will be called “Missing Links”.

Contact Info:

Image Credit:
Mara Trachtenberg, Tara Ecenarro, , Peter Dickinson, Luke Macinnis

Getting in touch: BostonVoyager is built on recommendations from the community; it’s how we uncover hidden gems, so if you know someone who deserves recognition please let us know here.

1 Comment

  1. S.D. Link

    April 24, 2018 at 4:10 am

    I may not understand most of it, but I am a fan of JASON SMITH’S work. All of those dots. Lots and lots of dots & dots! Clearly, these are not just mindless dots thrown about in hopes of connecting. These dots are crafted and mindfully constructed by an artist who cares about his final product.

    Until I learned of Jason’s work, quite some time ago. . . I’d never heard of “POINTILLISM”. I come from the fine-arts world of classical music. Whether orchestral or vocal, if performed well, there are elements that bring to the listener’s ears, ‘some’ since of understanding, and/or evoke ‘some’ positive experience. If words are sung in what’s a foreign language to the listener – they can absolutely appreciate the layers of a song, once they begin to re-direct their focus, if you will. What eventually comes to the fore are the sounds of correctly pitched notes; the timbre, breath, tempi, movement, etc., making it now stand apart as an enjoyable, nay, masterful performance. JASON does just that, in ALL of his collections. He makes his art pieces stand apart as an enjoyable, masterful visions.

    His results? Well – I’d rather not offer a spoiler alert (and because, 1st, all art is subjective), but I can with confidence and emphasis, exclaim that: this flat page does Smith’s work no justice whatsoever. Point of fact, if ’twere me, I wouldn’t ‘allow’ you to view so many 1-dimensional samplings of what is so rich in its’ 3-D form. I do, however, encourage u readers – artist or not, to go (now) to your electronic/paper calendar and set-aside at the least, 60mins.; enter the location of, and name of this (and a future J. Smith) exhibit.

    I’m willing to confess that I didn’t quite “get it” (at first). Then I re-directed my focus. I looked. I looked again. I dismissed what I thought art “should be”, if it is to be understood. Without having words from an artists’ vernacular… I looked at these ‘dots’ up close and saw texture; I looked and noticed the lines: where do they start, continue or interconnect? I looked from a further distance for the hue, homogony or cacophony of his color palate; I tried to notice the lines, angles, framing of the individual ‘personages’. In both a figurative and literal understanding of it, a piece can at once be complicated, dark, confusing, light; always head-turning. Finally, I asked myself: HOW (exactly) does Smith get from here to there?

    Moreover, I can’t imagine how the artist has the patience and finite dexterity, to create in such a way as from the eye of a fly, or the pixels of a photo or from numbering each grain of sand. If for no other reason or understanding or his art, you almost can’t help but to say: “Wow!” or “Fascinating”, or even “Un-un-un…believable.”, Truly.

    Jason’s art is the real deal when it comes to the research, attentiveness and the details of his subject(s). I’ve heard him interviewed, and not unlike an Archeologist, he digs deep and deeper yet. I’ll say again, there’s no point(illism) of attempting to explain it — just go EXPLORE it!!

    Thank-you, BOSTON VOYAGER, for this opportunity to reply, and to the artist known as JASON SMITH, I thank you 4 the visual ride.

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