Jason Walker
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About
Jason Walker grew up in Pocatello, ID, and moved to Washington State in He received a BFA from Utah State University and a MFA from Penn State University. He spent two years as an artist in residence at The Archie Bray Foundation for the Ceramic Arts. He has also been awarded an NCECA International Residency Fellowship. He has work in major collections such as the Fine Art Museum of San Francisco: De Young, the Carnegie Mellon Museum in Pittsburgh, Pennsylvania and the Arizona State University Art Museum, Ceramic Research Center, Tempe, Arizona. He is represented by Ferrin Contemporary.
Featured Works
Manifest Destiny, porcelain and underglaze,
City Animal: We Burn Things, That’s What We Do, porcelain, underglaze and luster,
Standing In the Grass, porcelain, underglaze, resin and plastic tubes,
The Pollenators, porcelain and china paints,
Blind Admiration, porcelain and china paints,
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Jason Walker: On the River, Down the Road
October 3, –March 1,
Bellevue Arts Museum, Bellevue, WA
A solo show of seven new, large-scale works
Northwest artist Jason Walker is widely celebrated for his skillfully executed ceramic sculpture. Treading a fine line between storytelling and social criticism, Walker&#;s work explores the human experience as reflected in Nature. His painted porcelain works, often taking the form of wild animals domesticated by industry, are simultaneously thought-provoking and unsettling. Bridging the dichotomous worlds of nature and technology represents, for the artist, &#;a journey to define for myself what it means to be human in the present time.&#; On the River, Down the Road is a site-specific installation created by Walker, who will transform the gallery into an enveloping, fantasy-driven world that—through richly detailed narratives and surrealist, apocalyptic imagery—offers an incisive comment on the indelible impact of humanity upon the natural landscape.
Click here to order the catalog for On the River, Down the Road.
Artwork in this exhibition is available for sale through Ferrin Contemporary.
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Jason Walker
He received a BFA from Utah State University and a MFA from Penn State University. He spent two years as a resident at The Archie Bray Foundation for the Ceramic Arts. Since then, he has lectured, taught, worked and exhibited extensively nationally and internationally in places including the Renwick Gallery at the Smithsonian Institution in Washington D.C., Haystack Mountain School for the Crafts, Penland School for the Crafts, Anderson Ranch Arts Center, The Pottery Workshop in Jingdezhen, China and the International Ceramics Workshop, Kecskemet, Hungary, South Korea, Ireland, Canada and France. He has been awarded a NCECA International Residency Fellowship and a Artist Trust Fellowship from Washington State. He has work in major collections such as the Fine Art Museum of San Francisco: De Young, the Carnegie Mellon Museum in Pittsburgh, Pennsylvania, the Arizona State University Art Museum Ceramic Research Center, Tempe, Arizona, The Everson Museum of Art in Syracuse, New York and the Portland Art Museum in Portland, Oregon. He is represented by Ferrin Contemporary in North Adams, Massechusettes and the t Gallery in Palm Desert, California. Currently, he resides
Art | Jason Walker&#;s Illustrated Surfaces and Forms Reviewed by Anthony Stellaccio
It was on the cusp of the present millennium that Jason Walker, represented by Ferrin Comtemporary, came to the attention of ceramic artists and collectors. Two recent shows, a retrospective at the Society for Contemporary Craft (SCC) and a solo exhibition of recent work at the Bellevue Art Museum (BAM), define the artist at a midpoint in his career.
Above image: Jason Walker, Staring Into the Crystal Ball, ; porcelain, underglaze china, paint, wood and spray paint, 15 x 10 x inches
Since his emergence, Walker has remained in the top tier of a group of artists who have defined a sub-genre of ceramic art with expert optical play between illustrated surface and form. The provenance of this prominence began with thrown and slipcast elements assembled into compact objects based on domestic functional forms. These, in turn, gave way to similarly scaled sculptures, animal or industrial in form, each a canvas for the illustration of its antithesis or a collision between the two.
All of Walker’s works have been explorations in integrating dimensions &#; in teasing out the tension between th
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