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PROFILE: JASON MARTIN

His gestural works inevitably bring to mind groundbreaking post-war artists such as Jackson Pollock, but his monochromatic use of metallic gels and pure pigments are also reminiscent of the works produced by the ZERO network, an international group of artists active in the late 1950s and 60s. Yves Klein, a member of the network, notably created his own colour, the “International Klein Blue,” which he would use to create large-scale monochromatic paintings. Reducing the palette to just one colour, ZERO artists and Klein attempted to downplay the hand of the artist and the idea of personal expression. By doing so, the focus was turned entirely onto the object itself, questioning its very condition and materiality. Martin’s art works in a similar fashion, producing raw artworks with a materiality that brings to mind other objects and textures, such as rumpled sheets, strands of wet hair, dried-up plaster, or freshly groomed snow.

Martin has been exhibited in numerous exhibitions (both solo and group) in many different galleries, museums, and art fairs around the world, including the Lisson Gallery, London (2012), Le Consortium, Dijon, (2012), the Peggy Guggenheim Collection, Venice (2009), The Fine Art Society, London (2007 and 2006) CAC Málaga, Spain (2007 and 2005), L.A. Louver, Los Angeles (2000), and le Musée d’Art Modern de la Ville de Paris (2000).  He has also won several prizes at the John Moores 21, Liverpool Biennal of Contemporary Art, UK (1999) and the Golfo della Spezia, European Biennial of the Visual Arts, La Spezia, Italy (2000).

Text by DAISY DE MONTJOYE