Not Random Art - Page 30

What is the role of technique in your practice? In particular are there any constraints or rules that you follow when creating?

I like provoking curiosity through my work. I also enjoy allowing the viewer to figure things out for themselves. I like to constantly show abstractions to the viewer. My work is about testing perception and pointing out the inability to understand what is before our eyes.

I usually start from one image that I really like. Without having any concept or theme, I try to analyze what I like about it then research artists who have a similar interest. Lately, I’ve been using instagram in my creative process. It is one of the easiest and fastest editing software. I enjoy looking at a quick preview of my work before I start photoshopping.

How do you see the relationship between emotional and intellectual perception of your work? In particular, how much do you consider the immersive nature of the viewing experience?

I do not expect any emotional connection to my work. Hopefully, an immersive viewing experience comes from the viewers decoding the image I present.

One of the hallmarks of your practice is the capability to create a direct involvement with the viewers, who are urged to evolve from a condition of mere spectatorship. So we would like to pose a question about the nature of the relationship of your art with your audience. Do you consider the issue of audience reception as being a crucial component of your decision-making process, in terms of what type of language is used in a particular context?

As I mentioned earlier, although I don’t have rules and constraints that I have set in creating my images, I am focused on creating an abstract image in everyday scenes.

While studying your paintings I couldn’t help but think about a Polish writer, painter, philosopher Stanislaw Witkiewicz http://culture.pl/en/artist/stanislaw-ignacy-witkiewicz-witkacy While talking about his creative process, he stated:

I am, which means that I comment on myself as a creation that I shall never be able to analyze to the end. I am reduced to experiments with the coauthor of my existence, psyche. The form of my thoughts and one day a beautiful death are in store for it. I would like to watch myself in the course of dying when the interpretation of pure, aesthetic sensations, merging into one, reaches full freedom ... I imagine the disappearance of the proportions of my body and the growing devastation of my consciousness. It must be extremely fascinating.

Can you relate to these words in any way?

When I think of an ending, I think of my planned ending to my art career. You don't have to be young to be an emerging artist, but I think most artists make their best work in their 20s to 40s. I want to continue to make better work than my previous series. However, I’m afraid I won’t make better work when I’m in my 50s. Just the way athletes hang up their jerseys and look into coaching or taking different career, I want to follow that example and move on from making art by the time I’m 50.

Thanks a lot for your time and for sharing your thoughts, Jason. Finally, would you like to tell us readers something about your future projects? How do you see your work evolving?

I’ll continue my Light Studies series. I’ve also been folding and unfolding origami. (Ori meaning "folding" and kami meaning "paper” in Japanese.) I’ve been folding common origami shapes. This practice has been adding to my interest in shape and pattern that is at once random and calculated. Thanks!