about jason & testimonies

last edited January 2019

After graduating  in 1998 jason undertook a seven year period of romantic, gestural, atmospheric and introspective analysis of paint as a medium, producing a vigorous and rapid succession of themed portfolios of work, all underpinned by sub-contexts of the chaotic, harmony and contrast. A selection from some portfolios can be viewed within this websites artwork archive pages. 

2004 then saw jason apply his developed knowledge and technique of applying paint to the contemporary male figure, titled Self-Observed, culminating in the inclusion of an international publication titled 100 artists of the Male Figure in 2010.

Professional work commitments, post-graduate educational investigations, including an installation of images in Liverpool's John Lewis Classical Furniture Department as part of the Liverpool Independents Biennial 2010, titled between Presence & Absence, and family priorities contributed to jason's focus elsewhere until his return to his painterly practice in August 2018.

jason has exhibited both nationally and internationally and his most recent solo exhibition at The Corke Gallery, Liverpool in December 2018 was the springboard for an internationally published article titled Mind the Gap in the Winter issue 2018 of Arts & Museums Magazine, highlighting his re-emergence to the art scene.


Highlights are Jason Jones's large abstract compositions, showing an innate understanding of colour and movement.    Ross Sutherland, Do As I Say, Not As I Do Exhibition Review, Metro Newspaper, 2006

I was not only struck by the subtle beauty of his work, but also the shimmering intensity it expresses. I have come to regard Jason as a purist - an artists who paints from his soul.    Kaye Kent, A Painterly Painter, Nerve Magazine, 2005

Jason is reluctant to theorise his work as the explanation limits its relevance. Words are necessarily too particular, formal and constrained in interpretation and will result in negating the qualities of immediacy and wonder. He also rejects the notion of 'beauty' but would rather work toward an impact, which could be described as a 'presence', or soul moving experience. His paint is his voice, and he speaks clearly and effectively of the trials and traumas of humanity. The Chaos Theory paintings are the nightmares of every troubled soul; the loss, the fear and loneliness of life, with the glimmer of hope in the shaft of sunlight breaking through.

Everyday life and experience has provided the impetus for each of the notional themes  in his artistic progression and he still feels that he has more to investigate in the 'emotion of the moment'. Jason's paintings already speak eloquently of life's beauty and its pain, needing neither pictures nor words to draw an almost primeval emotion from the soul. He captures a split moment in time which finds resonance within our emotions.
    Sue Poole, a close friend and Ex-Charirman of the Friends of the Liverpool Tate.