Jason A Cina
Recent Exhibitions: Art Mora, Chelsea; Edison Price Gallery, Queens; BWAC, Red Hook; Star Space Gallery, Bushwick; LIC-A, Queens; LIC Arts Open; Queens, Corks on Columbus, NYC and Denise Bibro Fine Art, Chelsea.
I grew up in NYC on Roosevelt Island and currently reside in nearby Queens. My field of study was in stage design but I quickly transformed my career to be that of a fine artist. After years of lighting plays and painting scenery in the trenches of Off Broadway, I spent the subsequent decade developing a cohesive body of work in photography which took me on several adventures across America accompanied by actors and jazz musicians. Exhausted, I decided to stop photographing altogether and moved up to the front burner painting concepts sketched out while idle in hotels and airports.
Back home, I founded an art program in an adult day care facility where I covertly procured a space in which to develop the modern series titled SLABS; which consists of ten freely carved and thickly painted wood panels derived solely from found materials. The pieces have been regularly placed in exhibition since completion and as of late last year three new smaller works debuted, along with two others now in progress, having been made possible by my ongoing residences granted by Topaz Arts in Woodside, Queens.
As a painter I work unwittingly opposite against a crisp photographic viewpoint resulting in reactionary arrays of color and reliance on rudimentary forms; elemental materials weathered and decayed outlined with an artificial vibrancy. Someone described my work as "epidermal landscapes" for there certainly is liveliness to these seemingly microscopic slices of larger biological or molecular structures. The series entitled SLABS consists of ten uniformed sized paintings plus one larger prequel bridging the evolutionary gap. Numbers seven and eight morphed from pure abstraction into something floral like whereas nine and ten is a return to earlier techniques made adult. In 2016 I created a few smaller works pushing my style in a forward direction.
My method is improvisational with little forethought to conclusion rather riding a wave of openness during each stage of fabrication. Preparation is ceremonial as I randomly gouge out trenches or divots replacing the removed material with a plaster based amalgam. Once hardened, that too becomes eroded and painted. The remaining flat wooden surfaces are painted or stained similarly then sealed, masked and painted over in floating repetitious layers from back to front. Current paintings are refined: smaller, manageable with three produced in 2016, plus two additional panels in progress.
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