Jason WillomeInformation
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JasonWillome@gmail.com
@jwillomestudio
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As an interdisciplinary artist with a focus on exploring the associative properties of materials, Jason Willome has developed a diverse body of work that is deeply rooted in an exploration of the boundaries of painting and drawing, navigating the tension between illusionistic denial and assertion of surface. His recent works, depicting disaster and wreckage, challenge conventional representation, transforming space into fantasy that reflects the softened reality of the current moment.

Jason’s latest projects delve into the nature of Self and seek to explore philosophical interpretations of human consciousness and our connection to the universe. These frameworks examine the liminal realm between the mental and physical, drawing inspiration from childhood explorations, philosophical interpretations of human consciousness, and the metaphorical implications of trepanation and astronomy. This new work seeks to investigate the nature of humanity’s enduring pursuit of transcendence, whether by delving into inner realms or gazing outward into the boundless cosmos in search of connection and understanding.
One of the things I love about painting is what we ignore about painting.

It is a constant negotiation of  willful ignorance – a pretense based on constancies and expectations; invisible formats and tacit surfaces; bad habits and self-indulgent beliefs – I love it all.

I work across a range of mediums within this lens, investigating the tension between the mental and the physical, and propping it open with fable and myth. This is most evident in how my work rubs together competing aspects of surface and tableau, exploring moments of paradox and metaphor where the picture crosses into the space of the viewer. 

My recent works depict disaster and wreckage – other-worldly, flooded, or snow-filled landscapes, with only traces of human presence – created by pours of house paint, ridiculous faux painting techniques, and other surface artifacts. These approaches attenuate the space and reframe it as fantasy – a reflection of the willful ignorance of the current moment.

Painting is a practice in fiction that mirrors our truth as a species of near-sighted, self-involved pretenders. It’s a spiritual act. It’s a quick grope in the dark. May we know ourselves in time to save ourselves.



Jason Willome was born in rural Texas. He earned a MFA from the University of Colorado Boulder. He has exhibited his work nationally and internationally, and been featured in Beautiful Decay, Glasstire, Agave Magazine, and Revising Lonliness. 


    2005-2011 – Time Travel
  • 2005-2007 – Joan Grona Gallery, 112 Blue Star, SATX

  • 2010 – Serendipity Art Space, SATX

  • 2011 – Softly Actual (Once More, With Feeling), curated by Stella Haus, SATX

  • 2015 – 50/250, French & Michigan, SATX


“Sometimes The Comb Is Solid”, Video Loop (Animated Giff), 2007.
“Walking Hand-in-hand With Myself (The View Inside a Tesseract)”, Acrylic, Inkjet Prints on Acetate (It’s A Wonderful Life, 1948), Stretched Canvas, 48” x 48” (121.9 x 121.9 cm.), 2005.
 
In the collection of Sara Reyes, SATX
“Deposition (Tesseract Frame)”, Acrylic, Inkjet Prints on Acetate (It’s A Wonderful Life, 1948), Stretched Canvas, 36” x 48” (91.4 x 121.9 cm.), 2007
“How To Haunt The Fleshly Counterpart”, Acrylic, Inkjet Prints on Acetate (It’s A Wonderful Life, 1948), Stretched Canvas, 48” x 48” (121.9 x 121.9 cm.), 2006
“Only Quantum Foam”, Acrylic, Inkjet Prints on Acetate, Stretched Canvas, 48” x 48” (121.9 x 121.9 cm.), 2006.

In the collection of Eduardo Rodriguez, SATX
“A Study In Time Travel (I Love You Now, and Now, and Nnow...)”, Acrylic, Inkjet Prints on Acetate (It’s A Wonderful Life, 1948), Stretched Canvas, 48” x 48” (121.9 x 121.9 cm.), 2007

Sold to a Private Collection
“Softly Actual (Once More, With Feeling)” Projection (It’s A Wonderful Life, 1948), Snow Machine. Dimensions Variable. 2011 

*Pictured as installed at Stella Haus Gallery, SATX
“All He Had To Say When Pressed”, Acrylic, Pigmment Transfer Into Acrylic (It’s A Wonderful Life, 1948), Stretched Canvas, 48” x 48” (121.9 x 121.9 cm.), 2011

In the collection of Cody MMatkin & Larry Gee, SATX
“Spot”, Acrylic, Pigment Transfer Into Acrylic (It’s A Wonderful Life, 1948), Stretched Canvas, 48” x 48” (121.9 x 121.9 cm.), 2011
“Through A Glass Darkly”, Charcoal, Captured Magnetic Field (Ferous Metal in Oil Binder), Acrylic, Paper. 8” x 8” (25.4 x 25.4 cm.), 2010

*Pictured as installed at m, 2012, The Contemporary “50/250”, 2012, French & Michigan, SATX
“How To Haunt The Fleshly Counterpart II (Instructions for Operating a Vanishinng Cabinet)“, Graphite, Cattle Mrker, Toner Transfer, Ink, Color Pencil, Paper, 18” x 24” (45.7 x 61 cm.), 2012
“How To Haunt The Fleshly Counterpart II (Vanishing Cabinet In Medias Res)“, Wood, Urethane Resin, 8” x 6” (20.3 x 15.2 cm.), 2012
“How To Haunt The Fleshly Counterpart II (Is This a Musical Table?)“, Graphite, Cattle Marker, Toner Transfer, Paper, 28” x 24” (71.1 x 61 cm.), 2006
“How To Haunt The Fleshly Counterpart II (Whale & Table & Tessera)“, Graphite, Cattle Marker, Toner Transfer, Paper, 24” x 18” (61 x 45.7 cm.), 2006

In The Collection of Avery (Ely) Bohon and Andrew Bohon, Franklin, TN 
“Another Room I Cannot Get Into“, Acrylic, Inkjet Prints on Acetate (It’s A Wonderful Life, 1948), Stretched Canvas, 48” x 40” (121.9 x 101.6 cm.), 2007

In the collectio of Heather & Chuck Holdridge, SATX
“Either Ether Either (The Sound One Makes When One Sleeps)”, Acrylic, Stretched Canvas, 48” x 48” (121.9 x 121.9cm.)
“How To Haunt The Fleshly Counterpart II (Area of Suddenly Displaced Air)“, Graphite, Cattle Marker, Toner Transfer, Paper, 24” x 24” (61 x 61 cm.), 2012
“How To Haunt The Fleshly Counterpart II (Physical Form of Memory)“, Wood, Plaster, 18” x 24” (45.7 x 61 cm.), 2012
“How To Haunt The Fleshly Counterpart II (Superposition of Memory)“, Graphite, Cattle Mrker, Toner Transfer, Ink, Color Pencil, Paper, 18” x 24” (45.7 x 61 cm.), 2012
“The Deep Cartographies of The Suburbann Yard Animal”, Acrylic, Pigment Transfer Into Acrylic Stretched Canvas, 48” x 48” (121.9 x 121.9 cm.), 2016

In the collection of Shirley Corte, HTX