All Things Must Pass
g.gallery is proud to present the solo exhibition of Jason REVOK for the first time in Korea, who has been a leading force in the American graffiti scene in the late 80s. At a period in which the boundaries between high culture and subculture have become meaningless, street art and graffiti art, which used to be considered taboo subjects, have become a source of inspiration for many contemporary artists. It is no longer rejected but embraced for the unique spirit of resistance and criticism it holds. The unrestrained quality has captured the eye of many an art lover, and even as the subject matter diversifies, the meaning it holds never fades.
Jason REVOK, an artist from Southern California and currently based in Detroit., explores the relationship between the human hand and man-made tools. His works are created with tools of his own making, and aid him in his quest to combine mechanical precision with human error. These devices of taped together paint rollers and spray cans are chosen precisely for their faults; a taped paint roller will draw an incomplete concentric line which then accumulates into a diagonal configuration, and rotates on the surface of the canvas only to have the tape move, tear, and fall off. The resulting works are unique, and vibrate with liveliness and intensity.
REVOK’s ‘Kundalini Loop’ works (which are also referred to as ‘Tape Loop Paintings’) were inspired by avant-garde composer William Basinski’s ‘Disintegration Loops,’ which recorded the sounds of cassette tapes breaking apart as they moved through the recording spool. This process of sound slowly descending into nothingness can be connected to REVOK’s work, in the way lines that begin at one starting point gradually disappear into the unknown. REVOK has also been influenced by the works of Frank Stella. Stella’s 1960 ‘Black Work’ series hold a striking resemblance to REVOK’s works in how they depict patterns in a minimal-esque manner. However, where Stella conveys a calculated and sophisticated feel which does not tolerate flaws, REVOK’s works imply a natural and unstable aura within the boundaries of accuracy.
REVOK’s most recognizable body of work, the ‘Spirograph’ series, also utilizes hand-made tools of his own invention. Giant spirograph templates made of plywood equipped with a spray can portray the intricacies of the human mind with fascinating spirals on circular canvas and metal panels. The stator (outside ring) is fastened to the wall, while the rotor (a smaller gear that holds the can of paint) engages within the perimeter as it moves, intersecting within the canvas and combining gears of various sizes to create a plethora of infinite shapes.
REVOK refers to his practice as “a conscious effort to seek purpose in living or some type of action to practice being mindful and not emotionally and spiritually bankrupt.” The visual language represented in all of his work is his effort to deal with big existential fears and hopes in the simplest and most immediate language he can come up with. REVOK has collaborated with leading galleries across the globe, including Los Angeles' Museum of Contemporary Art and the Pasadena Museum of Contemporary Art, as well as participating in Las Vegas' Palm Resort project. His work is housed in several major collections around the world.