ArtTour International Magazine
JASON BRYANT
WWW.BRYANTPAINTINGS.COM
Aphoto, a fingerprint, a signature, and DNA are all methods we use to identify a person, but they are just a means to match a name or face to an individual, not to describe who they are or to translate their identity.
For as long as I have been using portraiture as the main focus of my paintings, it is not the identity or recognizable face I use to describe my portraits but a blueprint of how I approach portraiture. So many levels go into what makes a person’s portrait. It’s a fabric of many layers intertwined with a person’s favorite foods, music, and movies.
I have used all of these concepts in building my portraits. Stemming from my lifelong love of the cinema, many of the subjects of my paintings are actors and actresses. However, I am not commenting on a celebrity or the star system, but I use the celebrity as a hook to bring the viewer in. Likewise, my work has never focused on the face to describe or examine a portrait. Instead, by cropping or hiding certain features of the face, I add more mystery to the portrait, bringing us to question who we are and what’s beneath the surface.
In my recent series of paintings, I have incorporated my love of skateboarding to explore themes of portraiture. With vibrant visceral iconic skateboard graphics coming from behind or bursting through the elegant black and white images of various actors and actresses, I’ve merged two of the most important parts of my life, skateboarding, and art. I use the traditional format of the portrait to simultaneously comment on identity and create portraits that mean so much more than just the individual being painted. With most of my paintings, the figure is the focal point, but when all of the elements of the painting come into play, the work really explores the identity of others, not the subject being painted. There is so much to be learned from a person’s portrait, information that goes well beyond the face.