November 13, 2018 @ 7:00 pm
Jason Needham received his BFA in Painting from the University of Kansas in 1997. Throughout his career, he has wor…
October 26, 2018 @ 5:00 pm - December 21, 2018 @ 9:00 pm | FREE
Jason Needham’s new landscape paintings reflect his longstanding interest in impressionism, post-impressionism, and early American modernists like Marsden Hartley. The scenery he selects is familiar: still life or interior compositions taken from his home, forest scenes just off the beaten path, a pocket of woods with an interstate, parking lot, or air-conditioned retreat close at hand. Works in the exhibition were created from a combination of painting and drawing plein air studies along with photographic references.
Needham says, “I see these mundane moments as majestic while allowing the mistakes of hand and misconceptions of eye to be as present as the purposeful. I like the paintings to coalesce from a distance but upon close inspection fall apart into marks and the process of making, with the underlying scaffolding of the image still visible. Whether I’m standing on the edge of the Grand Canyon or staring into the corner of a room, the investment in looking is the same. On one end, I’m working areas of my brain that lie deeper than the surface stream of thoughts, the self-narrating voice. On the other end, I’m pondering the fundamental structure of reality.”
For him, making landscape paintings and transcribing direct experience is no less romantic now than two hundred years ago. Landscape painting still serves as a document of our time, helping to articulate the experience of space and our relationship to nature. As David Hockney said in a recent interview, “When you’re out in nature there is a hint of the infinite.” Viewing a painting is a one-to-one transmission, and perhaps now more than ever there is a purpose to standing in another’s shoes to experience time and space.
Final Friday RECEPTION October 26, 5-9pm
(IMAGE) Jason Needham, detail from Shadows, Bones, and Leaves, Acrylic on canvas, 24 x 24”, 2017