WEBVTT

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harrison-gallery.com.
JASON ROHLF, AN BE A TRACT

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ARTIST, WANTS VIEWERS TO
NAVIGATE THEIR WAY THROUGH HIS

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ART.
ROHLF DRAWS INSPIRATION FROM HIS

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EVERYDAY SURROUNDINGS AND USES
LAYERS OF DIFFERENT MATERIALS TO

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CREATE HIS WORKS, GUIDING
VIEWERS ON AN ARTISTIC JOURNEY.

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>> ABSTRACT ARTISTS HAVE THEIR
OWN LANGUAGE.

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IT'S NONREPRESENTATIONAL, SO
YOU'RE DESCRIBING A

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TWO-DIMENSIONAL SPACE WITH ANY
MARK MAKING YOU WANT THAT

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DOESN'T HAVE TO SHOW DEPTH OR
LIGHT OR FORM.

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ALL THOSE THINGS ARE THE RULES
OF A TRADITIONAL LANDSCAPE OR

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STILL LIFE OR PORTRAIT DON'T
EXIST.

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MY NAME IS JASON ROHLF.
I AM AN ARTIST FROM BROOKLYN

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NEW YORK.
I WAS BORN IN MILE WALKY IN

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1970.
MY PARENTS WERE YOUNG HIPPIES

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HERE.
LEAVE LIVED ALL OVER THE STATE

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OF WISCONSIN UNTIL I WENT TO
COLLEGE AT MILWAUKEE, UWM.

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AFTER TEN YEARS OF MAKING ART,
WE HAD A LOFT DOWN BY THE

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BRADLEY CENTER.
WE MOVED TO BROOKLYN ABOUT 15

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YEARS AGO.
THAT'S BEEN OUR HOME EVER SINCE.

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THE FULL NAME OF THE EXHIBIT IS
NAVIGATIONAL AIDS.

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I WAS REALLY THINKING ABOUT THE
THINGS THAT HELP GUIDE YOU

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THROUGH YOUR DECISION-MAKING
PROCESS.

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RIGHT NOW IN THE INFORMATION
AGE, WE GET A LOT OF CONFLICTING

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INFORMATION, SO YOU'LL GET A
PIECE OF INFORMATION THAT TAKES

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YOU TO WHAT YOU WANT TO DO AND
THEN YOU'LL GET A PIECE OF

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INFORMATION THAT MIGHT LEAD YOU
AWAY FROM THAT.

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IT'S UP TO YOU AS AN INDIVIDUAL
TO RECONCILE THOSE TWO

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EXPERIENCES AND THEN MAKE YOUR
DECISION.

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AND I THINK THE WAY THE WORK
LOOKS, A LOT OF INFORMATION

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COMING AT YOU AND THEN YOU AS A
VIEWER FIGURE OUT A WAY TO

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NAVIGATE THROUGH THAT SPACE.
>> I LOVE IT WHEN MAGICAL

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MISTAKES OCCUR IN A PAINTING.
THE INSPIRATION COMES FROM JUST

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ABOUT EVERYTHING I EXPERIENCE IN
MY DAY TO DAY.

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IT COULD BE A CONSTRUCTION SITE.
IT COULD BE SOME PIECE OF

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GRAFFITI ON THE STREET, A
STICKER SLOWLY ERODING AND

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SEEING THE DIFFERENT LAYERS OF
HOW EVERYBODY INTERACTS WITH

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THEIR ENVIRONMENT AND THEN
TRYING TO CAPTURE THAT AS A

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FEELING.
I'M NOT REALLY ILLUSTRATING IT

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BUT MORE TRYING TO GET THE
ESSENCE OF IT.

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AND I WANTED TO KIND OF HAVE
THAT GROWING AND DECAYING,

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GROWING AND DECAYING, AND A LOT
OF THAT IS ALMOST A COMBINATION

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OF WHAT I EXPERIENCED IN
WISCONSIN AND BROOKLYN WHERE

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THINGS AGE AND RUST AND PATINA
AND THEN THEY ARE REPAINTED AND

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RESANDED AND RECLAIMED.
I WANTED TO SHOW THAT WHOLE

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TRANSITION PROCESS HAPPENING IN
THE NEW WORK.

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I'LL START WITH A RAW PANEL OR A
CANVAS PANEL AND START TO ADD

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LAYERS OF COLLAGE AND THICK
LAYERS OF PAINT WHERE THE CAKE

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ALMOST LOOKS LIKE FROSTING.
AND THEN CUT PIECES OF COLLAGE,

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AND IT STARTS BUILDING UP WHAT I
THINK IS THE OUTER-MOST LAYER, I

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WILL START TO SAND AND USE RAZOR
BLADES TO SCULPT BACK INTO THE

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PAINTING AND REVEAL THE THINGS
THAT HAD ONCE BEEN HIDDEN

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UNDERNEATH.
THERE IS A STARLIKE PATTERN THAT

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I USE THAT IS MORE LIKE A WIND
STAR OR COMPASS ROSE.

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SOME OF THE IMAGES FEEL LIKE
LUNAR LANDSCAPES, A SURVEY OF A

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PLANET WHERE THERE ARE SORT OF
GEOGRAPHICAL MARKERS.

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SOME FEEL LI A MAP WHERE YOU
HAVE A DESIGNATION, A DOT FOR

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WHERE AN INTERSECTION OR
POPULATION CENTER IS.

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I LIKE TAKING ALL OF THE SYMBOLS
AND TAKING THEM OUT OF THEIR

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ORIGINAL CONTEXT AND THEN
PUTTING THEM IN AS A VISUAL

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ELEMENT.
PEOPLE WHO ARE ENGINEERS OR MAP

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MAKERS WILL LOOK AT THESE THINGS
AND THEY KIND OF HAVE THE

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FEELING THEY'VE SEEN IT BEFORE
BUT I'M USING IT ALMOST FOR ITS

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AESTHETIC QUALITY.
THE BIRDS WERE ALWAYS A PROJECT.

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MY STUDIO IN MILWAUKEE WHEN I
STARTED MAKING THE BIRDS WAS ON

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THE SECOND FLOOR RIGHT AT THE
TREELINE.

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THE BIRDS WERE HOPPING AROUND IN
OUR WINDO SILLSR WINDOW BOXES.

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THEN I REALIZED I WANTED TO DRAW
THE BIRDS INTERACTING WITH THE

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PAINTING.
NOW I MADE IT MIMICKING WHATEVER

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THE -- IT'S AS IF THE BIRDS HAVE
SEEN THE BE A TRACT PAINTING --

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ABSTRACT PAINTING, GOTTEN BACK
TOGETHER AND NOW THEY ARE HAVING

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A CONVERSATION ABOUT WHAT THEY
EXPERIENCED.

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A FAVORITE PAINTING FOR AN
ARTIST MIGHT BE DIFFENTNTHAN A

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FAVORITE PAINTING FOR A VIEWER.
MY FAVORITE PAINTINGS ARE THE

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ONES MOST CHALLENGING, THAT
MAYBE GAVE ME THE MOST TROUBLE.

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THE SQUEAKY WHEEL GETS THE
GREASE SORT OF THING.

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SOMETIMES THERE IS A PAINTING
THAT WAS NOT COMING TOGETHER IN

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THE WAY YOU IMAGINED IT.
THEN YOU MAKE THE LAST FEW

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DECISIONS THAT IT STARTS TO
GLOW.

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THEN A PIECE CALLED THE FORTUNE
TELLER THAT WAS REALLY RESISTING

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BEING DONE FOR MANY, MANY
MONTHS.

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THEN WHEN WE DECIDED TO USE IT
FOR THE SHOW CARD AND CAME UP

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WITH A TITLE, ALL THESE
DISPARATE ELEMENTS CAME TOGETHER

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TO GIVE SOMETHING I FELT VERY
PROUD FOR.

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WHEN YOU PUT SOMETHING ON THE
SHOW CARD, USUALLY THAT'S YOUR

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DARLING.
THAT'S SORT OF THE BRIGHT STAR.

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IN THE DIGITAL AGE, IT REALLY I
THINK IS IMPORTANT TO REMEMBER

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THAT THINGS CAN BE MADE WITH
YOUR HANDS AND THAT SOMEBODY

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STOOD OVER A TABLE WITH TAPE AND
PAINT AND BRUSHES AND TOOLS AND

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ACTUALLYCONSTRUCTED SOMETHING
FROM NOTHING TO STEP AWAY FROM

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YOUR DESK OR FROM YOUR DAY TO
DAY AND JUST TO COME AND PONDER

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ON SOMETHING VISUAL THAT'S IN
FRONT OF YOU THAT WAS ACTUALLY

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MADE BY ANOTHER PERSON.
THAT PERSON IS BRINGING

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SOMETHING THAT THE ONLY PURPOSE
OF THAT OBJECT IS TO GIVE YOU

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SOMETHING TO REFLECT ON AND LOOK
AT AND CONCEIVE NEW IDEAS AND

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REACT TO.
THAT WOULD HAVE TO BE MY JOY.

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STILL SOMEBODY OUT THERE DOING
SOMETHING WITH THEIR HANDS AND

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BRINNGNG IT TO A VIEWER TO COME
AND EXPERIENCE.

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>> LEARN MORE AT
jasonrohlf.tumblr.com.

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THANKS INAR