Jason Martin 杰森·马丁 Untitled (Ruby lake / Crimson)《无题（红宝石湖／绯红色）》, 2020

In Untitled (Ruby lake / Crimson) (2020), Jason Martin uses an aluminium support for the tonal striations of paint he applies with a comb-like tool to form a sculptural relief, bridging the two- and three-dimensional. The process-based formalism of this approach reflects the influence of Minimalism, although the artist views himself as ‘a landscape painter dressed up as an abstractionist’. In this context, the work becomes an imaginary space, a mental landscape, an abstracted and mesmeric focal point for contemplation. The energetic ridges and furrows of pigment can also be read as extreme close-ups of a painterly brushstroke, drawing attention to the action and materiality of painting itself.

在《无题（红宝石湖／绯红色）》（2020年）中，杰森·马丁以铝制的支架，支撑他用梳 子般的工具涂抹的风格条纹，形成一个雕塑般的浮雕，贯穿平面与立体。这种以绘画 过程为基础的形式主义，流露了极简主义的影响，虽然艺术家一直视自己为 “打扮成 抽象主义的风景画家”。在此语境下，作品成为一个想象空间、一种精神景观、一个抽 象和迷幻的焦点，发人深省。颜料形成能量充沛的畦脊和沟壑，可被解读成他绘画笔 触的极端特写，令人注意绘画本身的动作和物质性。