“ I’m not interested in
illustrating my time. A man’s “time” limits him, it
does not truly liberate him. Our age, it is of science, of mechanism,
of power and death. I see no point in adding to its mammoth arrogance
the compliment of graphic homage. The sublime? A paramount consideration
in my studies and work from my earliest days.”
- Clyfford
Still, painter (1904-1980)
With a host of technological goodies at our disposal and
an ever-growing menu of social and political issues to feast upon, it
might seem logical to question why an artist of the twenty-first century
would revert to such a traditional and , dare I say, outdated platform
of expression. After all, the abstract expressionists had their moment
in the sun some fifty years ago.
While, historically, the philosophical and stylistic tendencies of these
rogue artists are attributed to rebellion in the face of the ultra-conservative
McCarthy Era, I personally doubt that any one of them entered the studio
with the intention of making subversive art meant to stir up the House
Committee on Un-American Activities.
The “sublime” which they sought came in many forms, but
the binding link was the transcendence obtained through the process
of creation. Without premeditation, the works exude an honest and spontaneous
spirit of power and energy while retaining a visual history of the act
itself.
With the vast amount of information whirling about today, entering the
studio in search of such a pure beginning seems a tall order. It becomes
a conscious effort to forget all that you know and embrace a journey
into uncertainty. Indeed, it is a voyage that others have made before,
but each path holds the distinction of being uniquely personal. It is
during these “timeless” moments of creation that I feel
truly liberated from the conventions of our age, and it is my hope that
the viewer can share in the experience as well.
-Jason Travers
Artist's Statement with forward
by Andrew Forge
Artist's Statement from Spirit
of Myth, 2005 |