Jason Martin channels a minimal approach to painting through an expansive yet controlled use of colour, brush and medium. Working in pigment, acrylic, oil paint, graphite and cast metal, Martin interrogates the fundamentals of painting, veering from epic and luscious compositions of swirling forms (such as Oceania, 2006) to pared-down and muted abstractions in precisely blended tones. Structured according to the harmonic relationships between these hues (included in the titles, such as Davy's Grey Deep/Graphite Grey/Titanium White, 2017), the paintings manifest as parallel strata, their horizons exploring suggestions of landscape and atmosphere through the viscosity of oil or the granular texture of other material added to the paint. Albeit with the occasional intervention of chance, moments of happenstance and the unexpected whorl of chaos, this process of repeated, sweeping gestures has been honed over the years since Martin attended Goldsmiths College in London in the early 1990s. These early works saw Martin dragging skeins of oil or acrylic gel across hard surfaces such as aluminium, stainless steel or Plexiglas with a fine, comb-like tool.

Jason Martin channels a minimal approach to painting through an expansive yet controlled use of colour, brush and medium. Working in pigment, acrylic, oil paint, graphite and cast metal, Martin interrogates the fundamentals of painting, veering from epic and luscious compositions of swirling forms (such as Oceania, 2006) to pared-down and muted abstractions in precisely blended tones. Structured according to the harmonic relationships between these hues (included in the titles, such as Davy's Grey Deep/Graphite Grey/Titanium White, 2017), the paintings manifest as parallel strata, their horizons exploring suggestions of landscape and atmosphere through the viscosity of oil or the granular texture of other material added to the paint. Albeit with the occasional intervention of chance, moments of happenstance and the unexpected whorl of chaos, this process of repeated, sweeping gestures has been honed over the years since Martin attended Goldsmiths College in London in the early 1990s. These early works saw Martin dragging skeins of oil or acrylic gel across hard surfaces such as aluminium, stainless steel or Plexiglas with a fine, comb-like tool.

Jason Martin channels a minimal approach to painting through an expansive yet controlled use of colour, brush and medium. Working in pigment, acrylic, oil paint, graphite and cast metal, Martin interrogates the fundamentals of painting, veering from epic and luscious compositions of swirling forms (such as Oceania, 2006) to pared-down and muted abstractions in precisely blended tones. Structured according to the harmonic relationships between these hues (included in the titles, such as Davy's Grey Deep/Graphite Grey/Titanium White, 2017), the paintings manifest as parallel strata, their horizons exploring suggestions of landscape and atmosphere through the viscosity of oil or the granular texture of other material added to the paint. Albeit with the occasional intervention of chance, moments of happenstance and the unexpected whorl of chaos, this process of repeated, sweeping gestures has been honed over the years since Martin attended Goldsmiths College in London in the early 1990s. These early works saw Martin dragging skeins of oil or acrylic gel across hard surfaces such as aluminium, stainless steel or Plexiglas with a fine, comb-like tool.