Jason
Walker


Works

A Spoonful of Sugar


27’’ x 45’’

Dunkin Donut


18 1/2’’ x 24’’

Canada 150


18’’ x 20’’

Glazed Cruller


16’’ x 20’’

Chocolate Sprinkle Donut


36’’ x 36’’

Donut Pile


18 1/2’’ x 25’’

Sprinkle Donut


57’’ dia.

Cheshire Cat


15’’ x 15’’

Cinderella


15’’ x 16’’

Daffy Duck


12’’ x 10’’

Clowns


16’’ x 20’’

Dancing Girl and Horse


16’’ x 20’’

Dorothy Smiling


14’’ x 14’’

Elephant and Clown


16’’ x 20’’

Fallen American


16’’ x 20’’

Granny


12’’ x 10’’

Horseman 2


23 1/2’’ x 20’’

Horseman 3


22’’ x 20’’

Mickey


15’’ x 15’’

Pepé le Pew


12’’ x 10’’

Red Donut


15’’ x 15’’

Road Runner


12’’ x 10’’

Snake Oil Man


20’’ x 14’’

Snow White


18’’ x 18’’

Space Lady Blue


13’’ x 13’’

Space Lady Gold


13’’ x 13’’

Space Lady Orange


13’’ x 13’’

Space Lady Pink


13’’ x 13’’

Space Lady Purple


13’’ x 13’’

Space Lady Red


13’’ x 13’’

Star Wars Set: Tarkin


14’’ x 12’’

Strongman and Girl


16’’ x 20’’

Sylvester


12’’ x 10’’

The Kid


12’’ x 9’’

Yosemite Sam


12’’ x 10’’

Nafshiya


16’’ x 12’’

Shaun


24’’ x 18’’

Frank 3


42’’ x 30’’


Biography

I am a painter who prefers the work to speak for itself. I believe that the relationship between the painting and the viewer is one that benefits from intimacy, without voice-over. It is as Duchamp says: “the viewer completes the work.”

Although photography has taken over many of the duties of contemporary portraiture I obviously prefer the painted subject. To paint the sitter is to have an intense encounter with that image and with art history at the same time. I often work from photographs (as well as from the model) but photography interests me only as aid to memory. I work in oil on linen and have chosen to concentrate on the single figure. I invest each image with significant detail and try to achieve not simply a physical likeness but also to unveil a psychological truth: to show a state of being in the world. I paint actual, living people in a high realist manner because I am not interested in the illusions of the classical or idealized figure. In a culture so concerned with celebrity, with youth and with perfection, to be elderly, anonymous, handicapped, marginalized or less than perfect often means invisibility. But such people are often the subject of my work. I try to convey the complexity of lived experience by depicting a full range of the human spectrum. In that regard the sitter becomes exalted by the scrutiny of the artist’s gaze, by the act of being painted. He or she is given sustained attention where in everyday life they may be often overlooked. In that sense my work also refers to the richness of art history itself. Such artists as Diego Velasquez and his The Dwarf Sebastian de Morra inform my work. Or Caravaggio whose works such as The Incredulity of Saint Thomas are the very embodiment of shadow and light on flesh. Or the unsparing portraits of ordinary people in ordinary settings by Lucien Freud. It is with all this in mind that I try to paint the subject before me.

Download the artist biography