Gallery exhibition
Jason Martin
Installation photography / 
Jason Martin / 
15 October - 13 November 2004
Installation photography / 
Jason Martin / 
15 October - 13 November 2004
Installation photography / 
Jason Martin / 
15 October - 13 November 2004
Installation photography / 
Jason Martin / 
15 October - 13 November 2004
Jason Martin / 
Mogul, 2004 / 
oil on copper / 
17 3/4 x 11 3/4 in (45 x 30 cm) / 
Private collection
Jason Martin / 
Rondeau, 2004 / 
gel on stainless / 
40 x 43 3/8 in (100 cm x 110 cm)
Jason Martin / 
Model, 2004 / 
oil on aluminum / 
53 x 35 3/8 in (90 x 135 cm)
Jason Martin / 
Rival, 2004 / 
gel on stainless / 
70 7/8 x 70 7/8 in (180 cm x 180 cm) / 
Private collection
Jason Martin / 
Furl, 2004 / 
oil on aluminum / 
35 x 49 in (90 x 135 cm)
Jason Martin / 
Avalon, 2004 / 
gel on stainless / 
47 1/8 x 47 1/8 in (120 x 120 cm) / 
Private collection
Jason Martin / 
Russian, 2004 / 
oil on aluminum / 
78 x 70 1/2 in (198 x 179 cm) / 
Private collection
Jason Martin / 
Bolero, 2004 / 
gel on stainless / 
60 1/4 x 55 1/8 in (153.2 x 140 cm) / 
Private collection
Jason Martin / 
Secco, 2004 / 
oil on copper / 
17 3/4 x 11 3/4 in (45 x 30 cm) / 
Private collection
Jason Martin / 
Queenie, 2004 / 
gel on stainless / 
60 1/4 x 55 1/8 in (153 x 140 cm) / 
Private collection
Jason Martin / 
Sicilyan, 2004 / 
gel on stainless / 
40 x 43 3/8 in (100 x 110 cm) / 
Private collection
Jason Martin / 
Torah, 2004 / 
oil on copper / 
49 1/4x 70 3/4 in (125 x 180 cm) / 
Private collection
Jason Martin / 
Sirius, 2004 / 
gel on stainless / 
60 1/4 x 55 1/8 in (153.2 x 140 cm) / 
Private collection
Jason Martin / 
Virgo, 2004 / 
oil on aluminum / 
88 1/2 x 59 in (225 x 150 cm) / 
Private collection
15 Oct - 13 Nov 2004

artist profile

press release
For his new series of works, Jason Martin has created a stunning palette of red, pink and gold. The colors are suspended in either gel or oil, which Martin applies over panels of stainless steel, aluminum and copper. The artist designs his own tools to manipulate the wet paint across the surface of his chosen support. Working the pigment back and forth over the panel in single gestures, the painting is complete when Martin is satisfied with a final, defining mark. As such, each painting is a record of the movement of the artist’s body. The horizontal and vertical lines that are defined by the tool create an illusionistic space generated by the intersection of light on and through the medium to the underlying support. Martin refers to the paintings as reflections because of the way in which the light interacts with the varying grades of paint applications and shifts in the mark against the support.