1. Exhibition Overview
In Illuminated Reflection, Jimi Gleason invites viewers into a luminous realm where light is not merely an element, but a guiding force—shaping perception, reve aling form, and transforming space. Guided by Light, as the artist describes, is both a philosophy and a process; it is the invisible collaborator behind each surface, each layer, and eac h shift in color or sheen.
Working primarily with silver nitrate and iridescent pigments on canvas, Gleason explores the interplay between light and materiality. His recent works—featu red in this New York solo exhibition—extend beyond the traditional boundaries of painting, tr ansforming static surfaces into reflective environments that evolve with the viewer’s movement and the space’s ambient light. Rather than presenting a fixed narrative, Gleason offers a medi tative experience: one that encourages stillness, observation, and the subtle revelations that occur when the ordinary is illuminated. His work challenges us to slow down and see—truly see—not just what lies on the surface, but what is shaped by the unseen presence of light.
As we navigate the luminous passages of Illuminated Reflection, we are reminded that light is not just what helps us perceive the world—it is also what revea ls our place within it.
2. Artist Introduction | Jimi Gleason
Born in Newport Beach, California, Jimi Gleason is an artist whose work explores the interplay of materiality, light, and perception. He earned his BA from the University of California, Berkeley, in 1985 and later studied printmaking at the San Francisco Art Institute. Early in his career, Gleason worked in New York as a photo assistant and technician before returning to California, where he spent five years in the studio of renowned artist Ed Moses. This experience shaped his approach to abstraction, exposing him to experimental techniques that continue to influence his practice today. Gleason’s work has been exhibited in major public institutions, including the Hammer Museum, the Frederick R. Weisman Foundation, the Long Beach Museum of Art, the Seattle Art Museum, and the Tucson Museum of Art. His paintings are widely collected in both public and private collections worldwide. By incorporating industrial materials and techniques, he extends the lineage of West Coast Minimalism and the Light & Space movement, challenging traditional notions of painting and perception.
JIMI GLEASON
LOS ANGELES, CA, 1961
EDUCATION
1985-86 San Francisco Art Institute, San Francisco, CA
1985 BFA, University of California, Berkeley, CA
SOLO EXHIBITIONS
2025 Chang Gallery, NewYork, New York
2024 Sugarlift, New York, New York
2023 Bentley Gallery, Phoenix, AZ
2022 Mark Moore Fine Art, Orange, CA
William Turner Gallery, Los Angeles, CA
2019 William Turner Gallery, Los Angeles, CA
Mark Moore Fine Art, Orange, CA
2018 Orth Contemporary, Tulsa, OK
Bentley Gallery, Phoenix, AZ
2017 William Turner Gallery, Los Angeles, CA
2016 William Turner Gallery, Los Angeles, CA
2015 RB Stevenson Gallery, Silver Deposit, La Jolla, CA
2014
William Turner Gallery, Los Angeles, CA
Toomey-Tourell Fine Art, San Francisco, CA
2013 Peter Blake Gallery, Laguna Beach, CA
2012 RB Stevenson Gallery, La Jolla, CA
2011 Bentley Gallery, Scottsdale, AZ
Peter Blake Gallery, Laguna Beach, CA
Toomey-Tourell Fine Art, San Francisco, CA
Samuel Freeman, Los Angeles, CA
2010 Peter Blake Gallery, Laguna Beach, CA
Works on Paper, Philadelphia, PA
LewAllen Contemporary, Santa Fe, NM
2009 Peter Blake Gallery, Laguna Beach, CA
Toomey-Tourell Fine Art, San Francisco, CA
Samuel Freeman, Los Angeles, CA
2008 Peter Blake Gallery, Laguna Beach, CA
2007 Patricia Faure Gallery, Los Angeles, CA
Toomey-Tourell Fine Art, San Francisco, CA
Peter Blake Gallery, Laguna Beach, CA
2006
R.B. Stevenson Gallery, La Jolla, CA
LewAllen Contemporary, Santa Fe, NM
Peter Blake Gallery, Laguna Beach, CA
Kidder-Smith Gallery, Boston, MA
2005 Patricia Faure Gallery, Los Angeles, CA
Peter Blake Gallery, Laguna Beach, CA
Works on Paper, Philadelphia, PA
LewAllen Contemporary, Santa Fe, NM
Ruth Bachofner Gallery, Los Angeles, CA
Toomey-Tourell Fine Art, San Francisco, CA
2004 Peter Blake Gallery, Laguna Beach, CA
Kidder-Smith Gallery, Boston, MA
Peter Blake Gallery, Laguna Beach, CA
2003 Ruth Bachofner Gallery, Los Angeles, CA
New Urban Art, Phoenix, AZ
2002 Ruth Bachofner Gallery, Los Angeles, CA
1999 Edward Giardina Contemporary Art, Santa Ana, CA
1994 Dakota Studio, New York, NY
1992 637 Gallery, New York, NY
1990 SFA, New York, NY
1988 The World, New York, NY
1987 Clancy Gallery, Costa Mesa, CA
2024
”Light Matter…Pacific Standard Time,” William Turner Gallery, Los Angeles, CA
”Latest and Greatest: New Work at Laguna Art Museum,” Laguna Beach, CA
”Circle of Truth; 49 Paintings ending with Ed Ruscha,” The Biggs Museum of American Art, Dover, Delaware
”Ultra 2024,” Mark Moore Fine Art, Orange, CA
”Annual Group Show,” Bentley Gallery, Phoenix, AZ
”Spring 2024,” RB Stevenson Gallery, La Jolla, CA
2023
2022
2021
”90 Degrees,” SCAPE, Corona Del Mar, CA
”Beneath the Surface,” Art Source Ohio, New Breman, OH
”Annual Group Exhibition,” Bentley Gallery, Phoenix, AZ
”Ohana,” Scape Gallery, Corona Del Mar, CA
“I Love the Light in California,” Melissa Morgan Fine Art, Palm Desert, CA
“Harmonic Refraction,” RB Stevenson Gallery, La Jolla, CA
“Sightlines,” Melissa Morgan Fine Art, Palm Desert, CA.
”Multiple Insights,” RB Stevenson Gallery, La Jolla, CA
”Looking West,” Mark Moore Fine Art, Orange, CA
”Summer Group Exhibition,” RB Stevenson Gallery, La Jolla, CA
“Cross Currents,” William Turner Gallery, Los Angeles, CA.
”Annual Summer Exhibition,” Bentley Gallery, Phoenix, AZ
”Color Theory,” Bentley Gallery, Phoenix, AZ
2020 ”Hope made Visible,” Orth Contemporary, Tulsa, OK
”That’s what artists do,” RB Stevenson Gallery, La Jolla, CA
”Energy and Motion: Abstraction 2020,” Mark Moore Fine Art, Orange, CA
“Chrysalistasis,” Lyons Wier Gallery, New York City, NY
“All Together Now,” William Turner Gallery, Los Angeles, CA
2019
”California Dreaming,” StepsGallery,Yokohama, Japan
”Pacific States,” RB Stevenson Gallery, La Jolla, CA
“Ephermal,” POST @ MiM, Los Angeles, CA
“Annual Summer Group Show,” Bentley Gallery, Scottsdale, AZ
”Kamikaze,” Post, Los Angeles, CA
”Grand Opening,” MMFA, Palm Desert, CA
“8 Points to View,” RB Stevenson Gallery, La Jolla, CA
“ABSOLUTELY ABSTRACT,” Yucca Valley Art Center, Yucca Valley, CA
“Escapism from LA,” SOIL Gallery, Seattle, WA & Durden & Ray, Los Angeles, CA
2018
”The Abstract Power Show,” Coagula, Los Angeles, CA
“Strata,” William Turner Gallery, Los Angeles, CA
2017 ”Los Angeles Painting: Formalism to Street Art,”
Bruno David Gallery, St. Louis, MO., Curated by Andi Campognone
“California Dreaming,” Frederick R. Weisman Art Foundation, Pepperdine, CA
”3Ways,” RB Stevenson Gallery, La Jolla, CA
2016 ”Psychedelic Tendencies,” Melissa Morgan Fine Art, Palm Desert, CA
“Continuum,” The Brewery, Los Angeles, CA
“Group Show,” William Turner Gallery, Los Angeles, CA
2014 ”Mixed Media, A Group Exhibition,” RB Stevenson Gallery, La Jolla, CA
”Green Heaven,” RB Stevenson Gallery, La Jolla, CA
2013
”Now and Then,” LewAllen Contemporary, Santa Fe, NM
”Gold Rush,” Bentley Gallery, Phoenix, AZ
”Skin Deep,” William Turner Gallery, Los Angeles, CA
“20th Anniversary group show,” Peter Blake Gallery, Laguna Beach, CA
”The 10th Circle,” Vast Space Projects, Henderson, NV
“Winter Group Show,” LewAllen Contemporary, Santa Fe, NM
“Liquid Pop,” Koki Fine Arts, Tokyo, Japan
2012
“Mixed Media,” RB Stevenson Gallery, La Jolla, CA
“Color Queries,” LewAllen Contemporary, Santa Fe, NM
“Transcending Abstraction-Perspectives in Reductive Art,”
Peter Blake Gallery, Laguna Beach, CA
2011
”Silver Lining,” SeeLine Gallery, Los Angeles, CA
“Winter Group Show,” Peter Blake Gallery, Laguna Beach, CA
2010 “Elements of Nature,” Selections from the Frederick Weismann
Art Foundation, Contemporary Art Center, New Orleans, LA
“Just Enough,” RB Stevenson Gallery, La Jolla, CA
”Elements of Nature,” Selections from the Frederick R. Weismann
Art Foundation, Carnegie Art Museum, Oxnard, CA
2009
“Well-Tempered,” RB Stevenson Gallery, La Jolla, CA
“A Three Legged Table,” Samuel Freeman Gallery, Los Angeles, CA
“The New Irascibles,” AC Projects, Pomona, CA
“East/West,” Royale Projects, Palm Desert, CA
“Gallery Artists,” Peter Blake Gallery, Laguna Beach, CA
“The Surface of Space II,” Phantom Galleries, Long Beach, CA
2008 ”2332,” Huntington Bach Art Center, Huntington Beach, CA
“Ten,” Toomey-Tourell Fine Art, San Francisco, CA
“Liquid Light,” MODAA, Culver City, CA.
”Supermarket,” Peter Blake Gallery, Laguna Beach, CA.
“The Surface of Space, ” Pharmaka Gallery, Los Angeles, CA
2007
”In Focus,” Seattle Art Museum, Seattle, WA
“Reprise,” RB Stevenson Gallery, La Jolla, CA
“Liquid Light,” dba Gallery 256, Pomona, CA
“An Eclectic Eye: Selections from the Dan Leach Collection,”
Tucson Museum of Art, Tucson, AZ
“West Coast Abstraction,” Peter Blake Gallery, Laguna Beach, CA
“Selected Works,” RB Stevenson Gallery, La Jolla, CA
“Pink,” Soho Myriad, Atlanta GA
“Palette to Palate,” Laguna Art Museum, Laguna Beach, CA
2006
“Abstraction Reduced to White,” Peter Blake Gallery, Laguna Beach, CA
“One Shot,” LA X ART, Los Angeles, CA
“Summer Group Show,” Peter Blake Gallery, Laguna Beach, CA
“Nice Work if You Can Get It,” Mandarin Gallery, Los Angeles, CA
“Pink III,” Arena One Gallery, Santa Monica, CA
“Jimi Gleason and Thomas Zitwitz,” RB Stevenson Gallery, La Jolla, CA
“Grey Scale,” Peter Blake Gallery, Laguna Beach, CA
2004
“Big & Holy,” Cartelle Gallery, Los Angeles, CA
“BIG,” Toomey-Tourell Fine Art, 511 Harrison, San Francisco, CA
“The OsCene,” Laguna Art Museum, Laguna Beach, CA
“Twentieth Anniversary Show,” Ruth Bachofner Gallery, Los Angeles, CA
“Ed Moses and Jimi Gleason,” HB Art Center, Huntington Beach, CA
“Abstract Los Angeles,” Soho Myriad Gallery, Atlanta, GA
“Heavens Gonna Burn Your Eyes,” Cartelle Gallery, Los Angeles, CA
“Modes and Methods,” Contemporary Art Museum, Amarillo, Texas
“Pink,” Cartelle Gallery, Los Angeles, CA
“White on White,” Patricia Faure Gallery, Los Angeles, CA
2003
“Painting Today,” The Art Institute of California Orange County, Santa Ana, CA
“9th Annual Holiday Group Show,” Ruth Bachofner Gallery, Los Angeles, CA
“Black and White,” Ruth Bachofner Gallery, Los Angeles, CA
“SOULdiers,” SCA Gallery, Pomona, CA
“Art X,” Long Beach Museum of Art, Long Beach, CA
2002
“No Pictures Here-Non-Objective Painting from LA.,” dA Center For The Arts, Pomona, CA
“California Dream,” Museum I Magli, Sarezzo (Brescia), Italy
“California Dream,” Museum Forno Fusoria, Tavernole (Brescia), Italy
“Minimal Works,” ANDLAB Gallery, Los Angeles, CA
“8th Annual Holiday Group Show;” Ruth Bachofner Gallery, Los Angeles, CA
2001
“Rising Tide, Southern California Abstraction 2001,” Orange County Center for Contemporary Art, Santa Ana, CA
“Group Show,” Irvine Fine Arts Center, Irvine, CA
“7th Annual Holiday Group Show,” Ruth Bachofner Gallery, Los Angeles, CA
2000 “10 Degrees of Abstraction,” Biola University Gallery, La Mirada, CA
“Emulsion,” POST, Los Angeles, CA
“Group Show,” Andrew-Shire Gallery, Los Angeles, CA
“Black and White,” Splendid, Brooklyn, NY
“Nice work if you can get it,” Holly Matter Contemporary Art, Los Angeles, CA
“The Spurgeon Experience II,” Santa Ana, CA
“New Drawings,” Edward Giardina Contemporary Art, Santa Ana, CA
1999 “The Spurgeon Experience,” Santa Ana, CA
1998 “Drawings,” Chimeat Gallery, Brooklyn, NY
1997
“Group Show,” POST, Los Angeles, CA
“L.A. Current View: New View, Armand Hammer Museum, Los Angeles, CA
“Group Show,” POST, Los Angeles, CA
1993 “Tres Colores,” The Apartment House, Los Angeles, CA
1992 “Made In New York,” Koven Fine Art, New York, NY
“Alphabet City Drawings,” SFA, New York, NY
1991 “New Paintings,” Dakota Studio, New York, NY
1989 “Two from New York,” West End Gallery, Portland, ME
1987 “Oaktown Drawings,” Tony Venegas Gallery, Oakland, CA
1986 “Fort Point,” Diego Rivera Gallery, San Francisco Art Institute, SF, CA
1984 “Student Show,” Worth Ryder Gallery, U.C. Berkeley, CA
2021
Artnet Gallery Network, “A Bright New Bold Show,” February 19, 2021
2016 Artillery Magazine, Killer pick of the week, Eve Wood, February, 2016
2014 Square Cylinder, “Jimi Gleason at Toomey-Tourell,” David Roth, May 2104
2011 Square Cylinder, “Jimi Gleason at Toomey-Tourell,” David Roth, September, 2011
San Francisco Chronicle, “Gleason tilts between fresh, flash,” Kenneth Baker, September Los Angeles Times, “A Cornucopia of Delights,” David Pagel, April 2011
2010
OC Arts & Culture, “The Art of Chromatics,” Roxana Vosough, November 2010
Riviera Magazine, “Chromatics,” Daniella Walsh, November 2010
OC Arts & Culture,”Artist Spotlight: Jimi Gleason,” Roxana Vosough, November 2010
Pasatiempo, “Visions that vary by Vantage,” Michael Abatemarco, February 2010
Orange Coast Magazine, “Artist Spotlight,” Anastacia Grenda, January 2010
San Diego Union-Tribune,”Quartet of soloists at La Jolla gallery, ”Robert Pincus,November
2009 San Francisco Chronicle,” Jimi Gleason at Toomey-Tourell,” Kenneth Baker, October ArtSlant, Los Angeles.”West/East,” Stacy Davies, April 2009
2008 ArtScene, “2332,”Daniella Walsh, Vol. 28, No. 3, November 2008
2007 San Francisco Chronicle, ”Rough around the Edges, ”Kenneth Baker, September 2007
Art Ltd. Magazine, “Artist Profile,” September 2007
Orange County Register, “Shades of Grey, ”Daniella Walsh, January 2007
Boston Globe, “Centering techniques,” January 2007
Riviera Magazine, “No Colors Anymore,” January 2007
2006 Orange County Register, “Bold reflections of nature and light,” September 2006
San Diego Union-Tribune, “Daydreamers,” June 2006
2005 Los Angeles Times, “Liquid Light, ”David Pagel, December 2005
Orange County Register, “Artist see white,” December 2005
Coast Magazine, “OC’s Blue Chip Artists,” October 2005
The Philadelphia Inquirer, “The Layered Look comes to Color Field Painting,” August, 2005 Where Magazine, “Orange County”, Summer 2005
OC Metro, “Gallery Row,” Fine Art After hours, March 15, 2005
2004 Catalog, “Big & Holy,” Cartelle Gallery, Los Angeles, CA, 2004
Orange County Register, “Elegance in the Abstract,” Visual Art, Show, October 1, 2004
Los Angeles Times, “Inaugural Exhibition,” Calendar, May 2004
2003 Artweek, “Jimi Gleason at Ruth Bachofner,” November 2003, Volume 34, Issue 9
PhoenixNew Times, “Los Angeles Painter at New UrbanArt,” March 2003
2002 STILE arte, Anno VII N. 62, 15 Ottobre-15 Novembre 2002
Catalog, “California Dream,” Museum Forno Fusoria, Tavernole (Brescia), Italy, 2002
2001 Appearances, “Collective Painters,” Number 27,2001
1994 Los Angeles Times, Local, April 1994
1981 Maine Times, “New York Painting,” Calendar, November 1981
SELECTED COLLECTIONS
Laguna Art Museum, Laguna Beach, CA
Jim and Janet Dicke, New Breman, OH
Leslie and Christopher Obaditch, Newport Beach, CA
Brett and Rea Lynn Price, Orange, CA
Otter Sunderman, Aland Islands, Finland
Glenn Schaeffer, Las Vegas, NV
Sun America / Kaufman Broad Home Corporation, Los Angeles, CA
Larry Bell, Venice, CA
Ken and Karen Blakely, Newport Beach, CA
Joe Goode, Venice, CA
David C. Copley, La Jolla, CA
Frederick R. Weisman Art Foundation, Los Angeles, CA
The Dan Leach Collection, Tucson, AZ
Dakota Studios, New York, NY
Mitch and Linda Katz, Laguna Beach, CA
Ed Moses, Venice, CA
Tony and Kathy DeLap, Corona Del Mar, CA
Gajin Fujita, Los Angeles, CA
Eric and Ann Smyth, Newport Beach, CA
The MGM Grand, Detroit, Michigan
Caesars Palace, Las Vegas, NV
Hilton HQ, McLean, VA
Durango Resort, Las Vegas, Nevada
MD Anderson Cancer Center, Houston, TX
ARTIST STATEMENT
Gleason’s highly emotional paintings are painted with an assertive, luminous palette in a refractive medium. One of the most notable aspects of the works is the complex way in which the viewer is drawn to actively participate with each piece. Colors, textures, tones and subtleties emerge, meld and shift as light and viewer perspective change. The effect is enigmatic, ethereal and emotionally resonant. The artist feels that his paintings are a physical response to motion, that each is “a frozen moment for those who wish to ponder the visual riddle I offer them.”
3. Artistic Style | Jimi Gleason’s artistic practice
Jimi Gleason’s artistic practice redefines the boundaries of ab straction through his innovative use of silver nitrate, a material historically associated with photography and chemical transformation. His process begins with dissolving solid silver into ni tric acid, producing a liquid compound that is then layered onto canvas using an industrial airbrushing method. This technique, reminiscent of the alchemical pursuit of transmutation, results in highly reflective surfaces that capture and manipulate light, shifting dynamically based on the viewer’s position and environmental conditions.
Gleason’s work is deeply rooted in the phenomenological experie nce of perception, aligning with the principles of the Light & Space movement. His composit ions range from geometric precision to fluid, organic fields of color, yet they all share a common thread: an inherent mutability that resists static interpretation. Much like Oscar Wi lde’s retelling of Narcissus, where reflection becomes an avenue for self-realization, Gleason’s surfaces invite viewers into an ever-evolving dialogue between the material and the ephemeral. His paintings do not merely depict light—they embody it, making them both objects of contem plation and active partici -
Press Coverage I
ArtNowLA | [Jimi Gleason ; Slamming in Silver ]
by Victoria Looseleaf
The Newport Beach-born artist whose time spent in New York, Berkeley and San Francisco helped hone is approach to painting – he combines the disparate technical and compositional skills developed during his exposure to printmaking, photography and mixed-media painting in creating his signature silver deposit works – plumbs his own psychological depths only to discover what makes him love work and life.
What historical art figure would you like to have lunch with and why? Johannes Vermeer. A few years ago I went to the Louvre and was able to see a good handful of them in my face. I was just so taken, and one thing that hit me about him is when you get up close how they’re so abstracted – the zones of light and shadow and how he views alternating primary colors to play off the light. Even though my paintings are very reflective, it’s about the whole light thing that’s involved. I’m also amazed that there’s only 35 or 36 paintings floating around.
What did you purchase with the proceeds from your first sale? Back in the early 80s I went to UC Berkeley and I’d made a lot of lithographs. I pulled up one [sold it] and I went straight out and bought a stack of printmaking paper. Back then it was $3. a sheet, which was out of my budget. The paper was Rives BFK , because that was the go-to print making paper. I spent my money on that and a couple quarts of beer and went straight back to the print room.
What words or phrases do you overuse? The phrase that I use most is ‘that’s killer.’ You can also throw ‘totally’ in there, too.
How do you know when a work is finished? For me it’s a little visceral – when some magic and wonder come to the surface and I know not to go in and fuck it up. I’m talking primarily about the silver paintings – when you come after the silver, there’s only a few other moves you can make on it. In a way it’s limiting, but I like to take chances. Sometimes I fuck ‘em up and sometimes I don’t. I worked for Ed Moses for five years and he was never afraid to lose a painting.
When and where were you happiest? When I’m in the studio getting lost working on a painting. In the early stages, when I’m putting down the foundation – before the silver goes on – I
What is your most treasured possession? When I was living in New York and had dropped out of grad school in 80-something – I drove up to the [ Green River Cemetery ] in Long Island , where Jackson Pollock and a lot of poets and other artists are buried. It’s a small cemetery, but for Pollock’s headstone there’s a large granite boulder with a plaque on it – the same for [his wife] Lee Krasner . She’s buried behind him with a smaller granite boulder. I hap pened to have sheets of paper and colored pencils with me, and put the paper over the bronze plaque and took the pencils and scratched over the bronze lettering with t he paper. They took his signature – how he signed his paintings – and put it in bronze. I to ok a couple pieces of paper and put them together. When I got home, I put them in frames and ha d them ever since. It was a magical day.
What is your ideal escape destination? That’s easy. My wife and I have two Rhodesian ridgebacks and walking mostly on any beach with her and my dogs is j ust fantastic.
What’s the worst survival job you’ve ever had? Manning the jack hammer in demolition construction. It was brutal. When I got to New York in ‘87, like anybody else, I had day jobs and would paint at night. I did a lot of interior painting with a l ot of other artists that I hung out with, and I loaded cameras for a while, but the jackhammer was pretty gnarly.
What TV series from your youth best describes your approach to life? My gosh, it’s probably the Wide World of Sports . I don’t really watch too much TV this past decade, but I did watch that when I was a kid. That was me, always involved with sports – everything from surfing to baseball, and later on I got into rowing, That’s how I got into Cal . We rowed in the estuary up in Oakland
What is your most treasured memory? Years ago I played golf with my dad and he got a holein-one. That was something. I don’t golf anymore, and put those clubs down about a decade ago.
What makes you smile? People helping people. There’s so much shit going on in the world today, that that’s the answer.
What makes you cry? The plight of the world and people suffering. It’s just fucked up. It shouldn’t be happening.
What is your go-to drink when you toast to a sale? Glenmorangie . It’s a Highland single malt Scotch whiskey. It’s extremely rare and I like to drink this 18 -year old Scotch. I have to keep it away, or else…
After an all-nighter, what’s your breakfast of champions? That’s an easy one – lots of strong coffee, toast and peanut butter and jelly. I ate a lot of that. I used to live in Alphabet City in New York, and it was pretty slim pickings, but that always seemed to be my staple and it gets me through. I don’t really have those all-nighters too much any more.
Who inspires you? Mostly just people pushing the envelope in whatever they do in taking chances. Not everything they do, but it refers mostly to artist s. There’s a lot of people, but I’m quite fond of abstract expressionists – mostly Joan Mitchell. I love Pollock and would have said him 20 years ago, but Joan Mitchell just kicked all their asses, in my humble opinion, and I’ve seen plenty of her work. I don’t want to get on my horse, but t here’s a lot of females in the world that don’t get much recognition – Frankenthaler , too. Some people will poo poo that she came from money, but she fucking made the work.
What’s your best quality? Patience. I can be very patient.
What’s your biggest flaw? Right back to patience. I can also be too tolerant and try and give everybody too much time, too much of a chance, but that’s only because we only want everybody to succeed. Right?
If you could change one thing about yourself, what would it be? I’ve loved guitar all my life and I would be a better guitar player. I do play a little, but only for the past few years. My wife got me a beautiful guitar for Christmas a few years ago and I’ve been plunking on it with some lessons.
What is your current state of mind?
I’m totally firing on all cylinders, because I have a solo show coming up in September at Orth Contemporary in Tulsa, Oklahoma. Katie Orth , the owner, worked for a large gallery in San Francisco for years, but then she moved back to Oklahoma. A mutual friend of ours introduced me to her. I sent her a few pieces and a year ago she asked me if I wanted to open the season for 2018. I got some killer paintings going right now and I’m really stoked. It’s coming up quick and it’s going to be great.
What do you consider your greatest achievement?
Escaping death! I was surfing 10-foot waves at a surf break called Hazards in Central California . I had two witnesses – a guy on the cliff was watching and my brother who paddled out with me. He came in, because it kept getting bigger and bigger, and the Bay was closing out. But I kept paddling further out. I made it in, but I got washed up next to this gigantic rock and scaled it. As the white water hit it, I propelled myself over the white water and somehow, some way, some star was shining on me and I paddled in. That was a gnarly day.
If you were to die and come back as a person or a thing, what would it be? An astronaut. As a kid listening to Hendrix and all those sounds he’d make with his guitar and talking about outer space. I like jets and flying on a rocket being propelled off the earth and floating in a tin can à la Bowie . Just looking at the planet would be a trip – looking down and reflecting what the hell’s going on down there.
Cover photo by Eric Minh Swenson
Jimi Gleason’s exhibition, Cross/Reference opens at William Turner Gallery September 21 –November 9, 2019
Press Coverage II
[ Wipeout ]
Jimi Gleason’s painting are a real drag - and it’s a good thing
by John Photos, 3 March 2010
Jimi Gleason’s paintings are slick in every sense of the word.
A self-proclaimed West Coast minimalist, Gleason adopted the squeegee technique and smears his colors in broad perpendicular strokes like a veteran window washer. Of all the myriad ways paint has been applied to the canvas—sticks, pours, nude women—the squeegee stands out for being the most mechanical, producing a flat glaz e with little texture, like an artisan-iced cake. In Gleason’s hands, the technique yields wor ks that shimmer like antique mirrors.
I believe it is a compliment to the art if I feel compelled to touch it—and I would have, but LewAllen Galleries makes a big show of all its security cameras.
The inviting tactility of Gleason’s surfaces promises to enhanc e the viewing experience. It follows that my thoughts should remain so sensory, since the ab sence of subject matter leaves one without referents. In the case of pure abstraction, there i s only the thing and its thingness.
Then again, there are Gleason’s titles—arcane phrases like “Pha ntom” and “The Vision.” I’m not sure which I dislike more: abstract art with supremely bad titl es, or deeply personal, esoteric imagery called “Untitled.” In Gleason’s case, after I got to th e one called “Bouncing Soul,” I just stopped reading them.
Fortunately the paintings don’t need titles to be appreciated. Most of them are comprised of a flattened, empty expanse in the center that erupts into irreg ularity toward the edges like an old pirate map that’s been singed too many times. The paint for ms a complete flesh atop the canvas as though it were all put there at once, a sensation tha t is immediately nullified by the buckling layers of pigment at the edges. This is a neat trick a nd goes a long way toward creating the illusion of depth.
There is also the inevitable inspection of the marks, no matter how suppressed, that begs the question: “How did he do that?” One of the strengths of Gleason ’s work is the simultaneity of perceived depth and utter flatness. In some cases, undulating f orms appear to lurk and slither just below the surface, bubbling forth only to smooth out sudde nly. In others, the compositions roil at the edges, giving the impression of sharp descent s along an icy rock face. In still others, the forms appear almost to cast drop shadows, heavy bla ck lines hugging their bottom edges. Given that the works have almost no discernible individu al marks or topography, the extent of this illusion is impressive. The effect is tweaked by iridescent and metallic paints the artist uses in some of the works.
However, Gleason also does his best to undermine his efforts in other works, particularly the larger monochromes in the south end of the gallery—gaudy things painted with what looks like a broom. He also made several triptychs in which the unifo rm compositions are loudly interrupted by a middle stripe that clashes with the panels tha t bookend it. In context, these works appear as curious anomalies. I get the sense that the art ist stumbled across a method of working he liked and put it through its paces, trying differ ent formulations (now in green, now in pink, now as a triptych, etc.).
Chronology for the work in the south end couldn’t be determined , since all the work is all dated 2010. I hope this is not the direction the artist is head ing, but rather a short detour or a drunken lapse in judgment, as these pieces stand out like una ttractive siblings in a family of lookers. It’s nice to see the artist stretch out and experiment , but there’s something to be said for knowing one’s strengths. I think the show would have benefi ted from more rigorous editing. These elephants in the room detract from the retinal play of the other works in an otherwise a tidy little exhibition.
Through March 21
LewAllen Galleries at the Railyard
1613 Paseo de Peralta
Jimi Gleason: Linked by Light
4. Collecting Value
Jimi Gleason’s work holds significant collecting value due to its unique material innovation, conceptual depth, and alignment with key movements in contemporary art. His paintings, characterized by silver nitrate surfaces that actively engage with light and the viewer’s perception, offer both aesthetic and experiential depth—qualities that appeal to collectors seeking works that transcend traditional painting. Below are the primary factors that contribute to the investment potential and collecting significance of his work.
1. Material and Technical Innovation
Gleason’s use of silver nitrate, an industrial material historically linked to photographic development and alchemical transformation, sets his work apart in the field of contemporary abstraction. His meticulous airbrushing technique, which involves a labor-intensive chemical process, creates an unparalleled interplay between light and surface. This distinctive approach places his work within the lineage of the Light & Space movement, aligning him with high-value artists like James Turrell, Robert Irwin, and Larry Bell, whose explorations of perception and light have driven strong market demand.
2. Market Position and Institutional Recognition
Gleason’s work has been exhibited in major institutions such as the Hammer Museum, the Long Beach Museum of Art, the Seattle Art Museum, and the Tucson Museum of Art. Institutional backing often serves as a key indicator of an artist’s longevity and market stability. Additionally, his time working in Ed Moses’ studio connects him to an influential artistic legacy, positioning his work within a broader historical framework that collectors value.
3. Aesthetic Appeal and Architectural Integration
The reflective and interactive qualities of Gleason’s paintings make them highly desirable for collectors, particularly those with modern and minimalist spaces. His works seamlessly integrate into contemporary interiors, mirroring and enhancing their surroundings. This aligns with the collecting preferences of high-net-worth individuals who seek large-scale, impactful pieces that evolve with lighting conditions and spatial dynamics.
4. Comparisons to Market Trends
Artists who explore light, materiality, and industrial processes have shown consistent value appreciation in the secondary market. Figures like Anish Kapoor, Larry Bell, and Doug Wheeler have seen increasing demand for their works, particularly as collectors and institutions look for pieces that offer sensory engagement beyond traditional mediums. Gleason’s work, while distinct in execution, aligns with this growing trend, suggesting long-term investment potential.
5. Limited Production and Future Potential
Given the physically demanding and chemically intensive nature of Gleason’s process, his output is inherently limited. This scarcity factor enhances collectibility, as fewer works are available for acquisition over time. As the market continues to recognize the significance of his contributions to contemporary abstraction and the Light & Space tradition, his works are likely to appreciate in both artistic and financial value.
Jimi Gleason’s paintings offer collectors a compelling combination of material uniqueness, institutional validation, aesthetic versatility, and market alignment with high-value contemporary movements. As more institutions and private collectors recognize the importance of perceptual abstraction and material-based experimentation, his works stand to gain even greater prominence in the market. For collectors looking for investment-worthy acquisitions with both conceptual depth and dynamic visual presence, Gleason’s work presents a strong case for long-term appreciation.
1. Exhibition Overview
이번 전시는 LA의 William Turner Gallery와 뉴욕의 Gallery Chang에서 4월부터 5월까지 동시기에 진행 중인 개인전으로 시작되어, 서울 전시로 이어지는 Coast to Coast 순회 프로젝트의 마지막 장입니다. 미국 동부와 서부를 연결하는 이 전시는, 지미 그리슨의 작품이 각기 다른 도시의 빛과 공간 속에서 어떻게 감각 적으로 변화하고 확장되는지를 경험하게 합니다.
지미 글 리슨은 빛과 표면, 반사의 개념을 회화에 도입하여 독자적인 조형 언어를 구축해온 작가입니다. 금속성 안료와 특수 재료를 활용한 그의 화면은 단순한 시각적 이미지가 아니라, 관람자의 움직임과 빛의
방향에 따라 끊임없이 변화하는 ‘거울 같은 회화’입니다. 이러한 작업은 시각적 경험을 넘어서, 관객의 사유 와 정서를 반사시키는 존재로 확장되며, 물리적 표면과 감각적 깊이를 동시에 보여줍니다. 고요한 침묵 속 에서 빛을 발산하는 이 회화들은, 마치 시간을 품은 풍경처럼 관객을 멈춰 세우고 응시하게 만듭니다.
이번 전시의 제목《Illuminated Silence》는, 그러한 그리슨의 작업 세계를 압축적으로 담아냅니다. 빛 에 의
해 드러나는 고요함, 혹은 고요함 속에서 발현되는 빛 — 이 양가적인 감각은, 회화가 가질 수 있는 가장 순 수한 시적 순간을 환기시킵니다.
서울에서 처음 소개되는 이번 개인전은, 지미 글 리슨의 대표작과 함께 신작도 포함하여 그의 작업 세계의 진화를 선명하게 보여줍니다. 빛과 침묵, 물질성과 비물질성 사이에서 회화의 새로운 가능성을 탐색하는 이 전시는, Gallery Chang이 지향하는 철학적 미학과도 깊은 연결을 이룹니다.
2. Artist Introduction | Jimi Gleason
뉴포트비치(캘리포니아)에서 태어난 지미 글리슨은 물질성, 빛, 그리고 지각(perception) 간의 상호작용을 탐 구하는 예술가입니다. 그는 1985년 캘리포니아 대학교 버클리(UC Berkeley)에서 학사 학위를 취득했으며, 이 후 샌프란시스코 아트 인스티튜트(San Francisco Art Institute)에서 판화(printmaking)를 공부했습니다.
초기 경력에서 그는 뉴욕에서 사진 조수 및 기술자로 일했고, 이후 캘리포니아로 돌아와 저명한 예술가 에드 모 지스(Ed Moses)의 스튜디오에서 5년간 일했습니다. 이 경험은 그가 추상화를 대하는 방식에 큰 영향을 주었 으며, 지금까지도 그의 작업에 영향을 주고 있는 실험적 기법들을 접하는 계기가 되었습니다. 글리슨의 작품은 해머 미술관(Hammer Museum), 프레더릭 R. 와이즈먼 재단(Frederick R. Weisman Foundation), 롱비치 미술관(Long Beach Museum of Art), 시애틀 미술관(Seattle Art Museum), 투손 미술관(Tucson Museum of Art) 등 주요 공공 기관에서 전시되었습니다. 그의 회화 작품은 전 세계의 공공 및 개인 소장가들에 의 해 널리 수집되고 있습니다.
JIMI GLEASON
LOS ANGELES, CA, 1961
EDUCATION
1985-86 San Francisco Art Institute, San Francisco, CA
1985 BFA, University of California, Berkeley, CA
SOLO EXHIBITIONS
2025 Chang Gallery, NewYork, New York
2024 Sugarlift, New York, New York
2023 Bentley Gallery, Phoenix, AZ
2022 Mark Moore Fine Art, Orange, CA
William Turner Gallery, Los Angeles, CA
2019 William Turner Gallery, Los Angeles, CA
Mark Moore Fine Art, Orange, CA
2018 Orth Contemporary, Tulsa, OK
Bentley Gallery, Phoenix, AZ
2017 William Turner Gallery, Los Angeles, CA
2016 William Turner Gallery, Los Angeles, CA
2015 RB Stevenson Gallery, Silver Deposit, La Jolla, CA
2014
William Turner Gallery, Los Angeles, CA
Toomey-Tourell Fine Art, San Francisco, CA
2013 Peter Blake Gallery, Laguna Beach, CA
2012 RB Stevenson Gallery, La Jolla, CA
2011 Bentley Gallery, Scottsdale, AZ
Peter Blake Gallery, Laguna Beach, CA
Toomey-Tourell Fine Art, San Francisco, CA
Samuel Freeman, Los Angeles, CA
2010 Peter Blake Gallery, Laguna Beach, CA
Works on Paper, Philadelphia, PA
LewAllen Contemporary, Santa Fe, NM
2009 Peter Blake Gallery, Laguna Beach, CA
Toomey-Tourell Fine Art, San Francisco, CA
Samuel Freeman, Los Angeles, CA
2008 Peter Blake Gallery, Laguna Beach, CA
2007 Patricia Faure Gallery, Los Angeles, CA
Toomey-Tourell Fine Art, San Francisco, CA
Peter Blake Gallery, Laguna Beach, CA
2006
R.B. Stevenson Gallery, La Jolla, CA
LewAllen Contemporary, Santa Fe, NM
Peter Blake Gallery, Laguna Beach, CA
Kidder-Smith Gallery, Boston, MA
2005 Patricia Faure Gallery, Los Angeles, CA
Peter Blake Gallery, Laguna Beach, CA
Works on Paper, Philadelphia, PA
LewAllen Contemporary, Santa Fe, NM
Ruth Bachofner Gallery, Los Angeles, CA
Toomey-Tourell Fine Art, San Francisco, CA
2004 Peter Blake Gallery, Laguna Beach, CA
Kidder-Smith Gallery, Boston, MA
Peter Blake Gallery, Laguna Beach, CA
2003 Ruth Bachofner Gallery, Los Angeles, CA
New Urban Art, Phoenix, AZ
2002 Ruth Bachofner Gallery, Los Angeles, CA
1999 Edward Giardina Contemporary Art, Santa Ana, CA
1994 Dakota Studio, New York, NY
1992 637 Gallery, New York, NY
1990 SFA, New York, NY
1988 The World, New York, NY
1987 Clancy Gallery, Costa Mesa, CA
2024
”Light Matter…Pacific Standard Time,” William Turner Gallery, Los Angeles, CA
”Latest and Greatest: New Work at Laguna Art Museum,” Laguna Beach, CA
”Circle of Truth; 49 Paintings ending with Ed Ruscha,” The Biggs Museum of American Art, Dover, Delaware
”Ultra 2024,” Mark Moore Fine Art, Orange, CA
”Annual Group Show,” Bentley Gallery, Phoenix, AZ
”Spring 2024,” RB Stevenson Gallery, La Jolla, CA
2023
2022
2021
”90 Degrees,” SCAPE, Corona Del Mar, CA
”Beneath the Surface,” Art Source Ohio, New Breman, OH
”Annual Group Exhibition,” Bentley Gallery, Phoenix, AZ
”Ohana,” Scape Gallery, Corona Del Mar, CA
“I Love the Light in California,” Melissa Morgan Fine Art, Palm Desert, CA
“Harmonic Refraction,” RB Stevenson Gallery, La Jolla, CA
“Sightlines,” Melissa Morgan Fine Art, Palm Desert, CA.
”Multiple Insights,” RB Stevenson Gallery, La Jolla, CA
”Looking West,” Mark Moore Fine Art, Orange, CA
”Summer Group Exhibition,” RB Stevenson Gallery, La Jolla, CA
“Cross Currents,” William Turner Gallery, Los Angeles, CA.
”Annual Summer Exhibition,” Bentley Gallery, Phoenix, AZ
”Color Theory,” Bentley Gallery, Phoenix, AZ
2020 ”Hope made Visible,” Orth Contemporary, Tulsa, OK
”That’s what artists do,” RB Stevenson Gallery, La Jolla, CA
”Energy and Motion: Abstraction 2020,” Mark Moore Fine Art, Orange, CA
“Chrysalistasis,” Lyons Wier Gallery, New York City, NY
“All Together Now,” William Turner Gallery, Los Angeles, CA
2019
”California Dreaming,” StepsGallery,Yokohama, Japan
”Pacific States,” RB Stevenson Gallery, La Jolla, CA
“Ephermal,” POST @ MiM, Los Angeles, CA
“Annual Summer Group Show,” Bentley Gallery, Scottsdale, AZ
”Kamikaze,” Post, Los Angeles, CA
”Grand Opening,” MMFA, Palm Desert, CA
“8 Points to View,” RB Stevenson Gallery, La Jolla, CA
“ABSOLUTELY ABSTRACT,” Yucca Valley Art Center, Yucca Valley, CA
“Escapism from LA,” SOIL Gallery, Seattle, WA & Durden & Ray, Los Angeles, CA
2018
”The Abstract Power Show,” Coagula, Los Angeles, CA
“Strata,” William Turner Gallery, Los Angeles, CA
2017 ”Los Angeles Painting: Formalism to Street Art,”
Bruno David Gallery, St. Louis, MO., Curated by Andi Campognone
“California Dreaming,” Frederick R. Weisman Art Foundation, Pepperdine, CA
”3Ways,” RB Stevenson Gallery, La Jolla, CA
2016 ”Psychedelic Tendencies,” Melissa Morgan Fine Art, Palm Desert, CA
“Continuum,” The Brewery, Los Angeles, CA
“Group Show,” William Turner Gallery, Los Angeles, CA
2014 ”Mixed Media, A Group Exhibition,” RB Stevenson Gallery, La Jolla, CA
”Green Heaven,” RB Stevenson Gallery, La Jolla, CA
2013
”Now and Then,” LewAllen Contemporary, Santa Fe, NM
”Gold Rush,” Bentley Gallery, Phoenix, AZ
”Skin Deep,” William Turner Gallery, Los Angeles, CA
“20th Anniversary group show,” Peter Blake Gallery, Laguna Beach, CA
”The 10th Circle,” Vast Space Projects, Henderson, NV
“Winter Group Show,” LewAllen Contemporary, Santa Fe, NM
“Liquid Pop,” Koki Fine Arts, Tokyo, Japan
2012
“Mixed Media,” RB Stevenson Gallery, La Jolla, CA
“Color Queries,” LewAllen Contemporary, Santa Fe, NM
“Transcending Abstraction-Perspectives in Reductive Art,”
Peter Blake Gallery, Laguna Beach, CA
2011
”Silver Lining,” SeeLine Gallery, Los Angeles, CA
“Winter Group Show,” Peter Blake Gallery, Laguna Beach, CA
2010 “Elements of Nature,” Selections from the Frederick Weismann
Art Foundation, Contemporary Art Center, New Orleans, LA
“Just Enough,” RB Stevenson Gallery, La Jolla, CA
”Elements of Nature,” Selections from the Frederick R. Weismann
Art Foundation, Carnegie Art Museum, Oxnard, CA
2009
“Well-Tempered,” RB Stevenson Gallery, La Jolla, CA
“A Three Legged Table,” Samuel Freeman Gallery, Los Angeles, CA
“The New Irascibles,” AC Projects, Pomona, CA
“East/West,” Royale Projects, Palm Desert, CA
“Gallery Artists,” Peter Blake Gallery, Laguna Beach, CA
“The Surface of Space II,” Phantom Galleries, Long Beach, CA
2008 ”2332,” Huntington Bach Art Center, Huntington Beach, CA
“Ten,” Toomey-Tourell Fine Art, San Francisco, CA
“Liquid Light,” MODAA, Culver City, CA.
”Supermarket,” Peter Blake Gallery, Laguna Beach, CA.
“The Surface of Space, ” Pharmaka Gallery, Los Angeles, CA
2007
”In Focus,” Seattle Art Museum, Seattle, WA
“Reprise,” RB Stevenson Gallery, La Jolla, CA
“Liquid Light,” dba Gallery 256, Pomona, CA
“An Eclectic Eye: Selections from the Dan Leach Collection,”
Tucson Museum of Art, Tucson, AZ
“West Coast Abstraction,” Peter Blake Gallery, Laguna Beach, CA
“Selected Works,” RB Stevenson Gallery, La Jolla, CA
“Pink,” Soho Myriad, Atlanta GA
“Palette to Palate,” Laguna Art Museum, Laguna Beach, CA
2006
“Abstraction Reduced to White,” Peter Blake Gallery, Laguna Beach, CA
“One Shot,” LA X ART, Los Angeles, CA
“Summer Group Show,” Peter Blake Gallery, Laguna Beach, CA
“Nice Work if You Can Get It,” Mandarin Gallery, Los Angeles, CA
“Pink III,” Arena One Gallery, Santa Monica, CA
“Jimi Gleason and Thomas Zitwitz,” RB Stevenson Gallery, La Jolla, CA
“Grey Scale,” Peter Blake Gallery, Laguna Beach, CA
2004
“Big & Holy,” Cartelle Gallery, Los Angeles, CA
“BIG,” Toomey-Tourell Fine Art, 511 Harrison, San Francisco, CA
“The OsCene,” Laguna Art Museum, Laguna Beach, CA
“Twentieth Anniversary Show,” Ruth Bachofner Gallery, Los Angeles, CA
“Ed Moses and Jimi Gleason,” HB Art Center, Huntington Beach, CA
“Abstract Los Angeles,” Soho Myriad Gallery, Atlanta, GA
“Heavens Gonna Burn Your Eyes,” Cartelle Gallery, Los Angeles, CA
“Modes and Methods,” Contemporary Art Museum, Amarillo, Texas
“Pink,” Cartelle Gallery, Los Angeles, CA
“White on White,” Patricia Faure Gallery, Los Angeles, CA
2003
“Painting Today,” The Art Institute of California Orange County, Santa Ana, CA
“9th Annual Holiday Group Show,” Ruth Bachofner Gallery, Los Angeles, CA
“Black and White,” Ruth Bachofner Gallery, Los Angeles, CA
“SOULdiers,” SCA Gallery, Pomona, CA
“Art X,” Long Beach Museum of Art, Long Beach, CA
2002
“No Pictures Here-Non-Objective Painting from LA.,” dA Center For The Arts, Pomona, CA
“California Dream,” Museum I Magli, Sarezzo (Brescia), Italy
“California Dream,” Museum Forno Fusoria, Tavernole (Brescia), Italy
“Minimal Works,” ANDLAB Gallery, Los Angeles, CA
“8th Annual Holiday Group Show;” Ruth Bachofner Gallery, Los Angeles, CA
2001
“Rising Tide, Southern California Abstraction 2001,” Orange County Center for Contemporary Art, Santa Ana, CA
“Group Show,” Irvine Fine Arts Center, Irvine, CA
“7th Annual Holiday Group Show,” Ruth Bachofner Gallery, Los Angeles, CA
2000 “10 Degrees of Abstraction,” Biola University Gallery, La Mirada, CA
“Emulsion,” POST, Los Angeles, CA
“Group Show,” Andrew-Shire Gallery, Los Angeles, CA
“Black and White,” Splendid, Brooklyn, NY
“Nice work if you can get it,” Holly Matter Contemporary Art, Los Angeles, CA
“The Spurgeon Experience II,” Santa Ana, CA
“New Drawings,” Edward Giardina Contemporary Art, Santa Ana, CA
1999 “The Spurgeon Experience,” Santa Ana, CA
1998 “Drawings,” Chimeat Gallery, Brooklyn, NY
1997
“Group Show,” POST, Los Angeles, CA
“L.A. Current View: New View, Armand Hammer Museum, Los Angeles, CA
“Group Show,” POST, Los Angeles, CA
1993 “Tres Colores,” The Apartment House, Los Angeles, CA
1992 “Made In New York,” Koven Fine Art, New York, NY
“Alphabet City Drawings,” SFA, New York, NY
1991 “New Paintings,” Dakota Studio, New York, NY
1989 “Two from New York,” West End Gallery, Portland, ME
1987 “Oaktown Drawings,” Tony Venegas Gallery, Oakland, CA
1986 “Fort Point,” Diego Rivera Gallery, San Francisco Art Institute, SF, CA
1984 “Student Show,” Worth Ryder Gallery, U.C. Berkeley, CA
2021
Artnet Gallery Network, “A Bright New Bold Show,” February 19, 2021
2016 Artillery Magazine, Killer pick of the week, Eve Wood, February, 2016
2014 Square Cylinder, “Jimi Gleason at Toomey-Tourell,” David Roth, May 2104
2011 Square Cylinder, “Jimi Gleason at Toomey-Tourell,” David Roth, September, 2011
San Francisco Chronicle, “Gleason tilts between fresh, flash,” Kenneth Baker, September Los Angeles Times, “A Cornucopia of Delights,” David Pagel, April 2011
2010
OC Arts & Culture, “The Art of Chromatics,” Roxana Vosough, November 2010
Riviera Magazine, “Chromatics,” Daniella Walsh, November 2010
OC Arts & Culture,”Artist Spotlight: Jimi Gleason,” Roxana Vosough, November 2010
Pasatiempo, “Visions that vary by Vantage,” Michael Abatemarco, February 2010
Orange Coast Magazine, “Artist Spotlight,” Anastacia Grenda, January 2010
San Diego Union-Tribune,”Quartet of soloists at La Jolla gallery, ”Robert Pincus,November
2009 San Francisco Chronicle,” Jimi Gleason at Toomey-Tourell,” Kenneth Baker, October ArtSlant, Los Angeles.”West/East,” Stacy Davies, April 2009
2008 ArtScene, “2332,”Daniella Walsh, Vol. 28, No. 3, November 2008
2007 San Francisco Chronicle, ”Rough around the Edges, ”Kenneth Baker, September 2007
Art Ltd. Magazine, “Artist Profile,” September 2007
Orange County Register, “Shades of Grey, ”Daniella Walsh, January 2007
Boston Globe, “Centering techniques,” January 2007
Riviera Magazine, “No Colors Anymore,” January 2007
2006 Orange County Register, “Bold reflections of nature and light,” September 2006
San Diego Union-Tribune, “Daydreamers,” June 2006
2005 Los Angeles Times, “Liquid Light, ”David Pagel, December 2005
Orange County Register, “Artist see white,” December 2005
Coast Magazine, “OC’s Blue Chip Artists,” October 2005
The Philadelphia Inquirer, “The Layered Look comes to Color Field Painting,” August, 2005 Where Magazine, “Orange County”, Summer 2005
OC Metro, “Gallery Row,” Fine Art After hours, March 15, 2005
2004 Catalog, “Big & Holy,” Cartelle Gallery, Los Angeles, CA, 2004
Orange County Register, “Elegance in the Abstract,” Visual Art, Show, October 1, 2004
Los Angeles Times, “Inaugural Exhibition,” Calendar, May 2004
2003 Artweek, “Jimi Gleason at Ruth Bachofner,” November 2003, Volume 34, Issue 9
PhoenixNew Times, “Los Angeles Painter at New UrbanArt,” March 2003
2002 STILE arte, Anno VII N. 62, 15 Ottobre-15 Novembre 2002
Catalog, “California Dream,” Museum Forno Fusoria, Tavernole (Brescia), Italy, 2002
2001 Appearances, “Collective Painters,” Number 27,2001
1994 Los Angeles Times, Local, April 1994
1981 Maine Times, “New York Painting,” Calendar, November 1981
SELECTED COLLECTIONS
Laguna Art Museum, Laguna Beach, CA
Jim and Janet Dicke, New Breman, OH
Leslie and Christopher Obaditch, Newport Beach, CA
Brett and Rea Lynn Price, Orange, CA
Otter Sunderman, Aland Islands, Finland
Glenn Schaeffer, Las Vegas, NV
Sun America / Kaufman Broad Home Corporation, Los Angeles, CA
Larry Bell, Venice, CA
Ken and Karen Blakely, Newport Beach, CA
Joe Goode, Venice, CA
David C. Copley, La Jolla, CA
Frederick R. Weisman Art Foundation, Los Angeles, CA
The Dan Leach Collection, Tucson, AZ
Dakota Studios, New York, NY
Mitch and Linda Katz, Laguna Beach, CA
Ed Moses, Venice, CA
Tony and Kathy DeLap, Corona Del Mar, CA
Gajin Fujita, Los Angeles, CA
Eric and Ann Smyth, Newport Beach, CA
The MGM Grand, Detroit, Michigan
Caesars Palace, Las Vegas, NV
Hilton HQ, McLean, VA
Durango Resort, Las Vegas, Nevada
MD Anderson Cancer Center, Houston, TX
ARTIST STATEMENT
Gleason’s highly emotional paintings are painted with an assertive, luminous palette in a refractive medium. One of the most notable aspects of the works is the complex way in which the viewer is drawn to actively participate with each piece. Colors, textures, tones and subtleties emerge, meld and shift as light and viewer perspective change. The effect is enigmatic, ethereal and emotionally resonant. The artist feels that his paintings are a physical response to motion, that each is “a frozen moment for those who wish to ponder the visual riddle I offer them.” 글리슨의 감정이 풍부한 회화들은 빛을 굴절시키는 매체에 대담하고 빛나는 색조로 그려집니다. 그의 작품에서 가장 주목할 만한 특징 중 하나는, 관람자가 능동적으로 작품에 참여하게 된다는 복합적인 방식입니다. 빛과 보는 각도에 따라 색상, 질감, 음영, 그리고 미묘한 변화들이 드러나고 서로 섞이며 끊임없이 변합니다. 이러한 효과는 신비롭고 공기처럼 가볍지만 감정적으로 깊은 울림을 줍니다. 작가는 자신의 회화가 움직임에 대한 물리적 반응이라고 느끼며, 각각의 작품은 “내가 제시하는 시각적 수수께끼를 곱씹고자 하는 이들을 위한 ‘멈춰진 한 순간’”이라고 말합니다.
3. Artistic Style | Jimi Gleason’s artistic practice
지미 글리슨 의 예술적 실천은 은염(silver nitrate)의 혁신적인 사용을 통해 추상 회화의 경계를 재정의합니 다. 은염은 역사적으로 사진과 화학적 변형과 관련된 물질로, 글리슨은 이를 독창적으로 회화에 도입했습 니다. 그의 작업은 고체 은을 질산에 녹이는 것으로 시작되며, 이 과정을 통해 생성된 액체 화합물을 산업용 에어브러시 기법으로 캔버스 위에 여러 겹으로 분사합니다. 이 기법은 마치 물질 변환을 추구하던 연금술의 방식처럼 느껴지며, 결과적으로 고도로 반사적인 표면을 만들어내어 빛을 포착하고 조작합니다. 그 반응은 관람자의 위치나 주변 환경에 따라 역동적으로 변합니다.
글 리슨의 작업은 지각(perception)에 대한 현상학적 경험에 깊이 뿌리를 두고 있으며, 이는 라이트 앤 스 페이스(Light & Space) 운동의 원칙과도 일맥상통합니다. 그의 구성은 기하학적 정밀함에서부터 유동적 이고 유기적인 색의 장(field)에 이르기까지 다양하지만, 모든 작품에는 하나의 공통된 실이 흐릅니다. 바 로 정적인 해석을 거부하는 내재된 가변성입니다. 오스카 와일드의 나르시스 신화를 떠올리게 하듯, 반영 (reflection)은 자기 인식의 경로가 되고, 글리슨의 표면은 물질과 덧없음 사이에서 끊임없이 변화하는 대 화로 관람자를 초대합니다. 그의 회화는 단지 빛을 묘사하는 것이 아니라, 빛 그 자체를 체현하며, 사색의 대상인 동시에 시각적 경험의 능동적 참여자가 됩니다.
Press Coverage I
ArtNowLA | [Jimi Gleason ; Slamming in Silver ]
by Victoria Looseleaf
뉴포트 비치에서 태어난 예술가는 뉴욕, 버클리, 샌프란시스코에서 보낸 시간이 그의 회화 접근 방식을 다듬는 데 도움을 주었다. 그는 판화, 사진, 혼합 매체 회화를 접하면서 개발된 다양한 기술적, 구성적 능력을 결합하여 그의 시그니처인 은입자 작품을 만든다. 그는 자신의 심리적 깊이를 탐구하면서 일과 삶을 사랑하게 만드는 것이 무엇인지 발견한다.
역사적인 예술 인물과 점심을 함께 할 수 있다면 누구를 고르고 그 이유는 무엇인가요? 요하네스 베르메르. 몇 년 전, 나는 루브르 박물관에 가서 그의 작품을 몇 점 가까이에서 볼 수 있었다. 나는 너무 감동을 받았고, 그에 대해 느낀 한 가지는 가까이서 보면 그의 작품이 매우 추상적이라는 점이었다. 빛과 그림자의 영역, 그리고 그가 빛을 이용하여 교차하는 기본 색들을 어떻게 조화시키는지에 대한 방식이 정말 인상적이었다. 내 작품은 매우 반사적이지만, 그 전체적인 빛의 개념과 관련이 있다. 또한, 그가 남긴 작품이 35~36점에 불과하다는 사실이 나를 놀라게 했다.
What did you purchase with the proceeds from your first sale?
80년대 초, UC Berkeley에 다닐 때 리토그래프를 많이 만들었어요. 그 중 한 점을 팔고 나서, 바로 프린트 메이 킹 종이 한 묶음을 샀어요. 당시 종이는 한 장에 3달러
였는데, 제 예산에서는 꽤 비쌌죠. 그 종이는 Rives BFK
였어요, 그 당시 가장 많이 쓰던 프린트 메이킹 종이였 어요. 그 돈으로 종이와 맥주 몇 쿼트를 사서, 바로 프린 트 룸으로 돌아갔어요.
당신이 자주 사용하는 말이나 표현은 무엇인가요?
가장 자주 쓰는 표현은 ‘그거 죽인 다’(that’s killer)예요. ‘완전히’(totally)도 종종 쓰죠.
작품이 완성되었는지 어떻게 아나요?
저에겐 조금 감각적인 부분이 있어요—
마법과 경이로움이 표면에 드러날 때, 더 이상 손대지 말아야 한다는 걸 알아 요. 주로 실버 그림에 해당하는데, 실 버를 바르고 나면 그 위에 할 수 있는 건 몇 가지 없어요. 어떤 면에서는 제약 이 있지만, 저는 도전하는 걸 좋아해요. 가끔은 실패하고, 가끔은 성공하죠. 저
는 에드 모세스와 5년간 함께 일했는 데, 그는 작품을 잃는 걸 두려워하지 않 았어요.
당신이 가장 행복했던 순간은 언제였나요? 스튜디오에서 그림을 작업할 때 가장 행복해요. 특히 초기에, 실버를 올리기 전 기초 작업을 할 때가 최죠. 그때는 정말 몰입해서 모든 걸 밀어내고 있어요. 그 과정이 제 일 좋아요.
가장 소중한 소유물은 무엇인가요?
뉴욕에 살고 있었고, 대학원에서 중퇴한 80년대 초반에 저는 롱아일랜드에 있는 [그린 리버 공동묘지]에 갔 어요. 그곳에는 잭슨 폴록과 많은 시인들, 다른 예술가들이 묻혀 있어요. 작은 묘지인데, 폴록의 묘비는 큰 화강암 바위 위에 동판이 붙어 있어요—그의 아내인 리 크래스너도 마찬가지로, 그녀는 그의 뒤에 작은 화 강암 바위 위에 묻혀 있어요. 그때 저는 종이 몇 장과 색연필을 가지고 있었고, 그 종이를 동판 위에 놓고 색 연필로 동판에 새겨진 글자를 문질렀어요. 그들은 폴록이 그의 작품에 서명한 방식을 동판에 새겨두었어요. 저는 몇 장의 종이를 가지고 그것을 합쳤고, 집에 돌아와서는 그것을 액자에 넣어서 지금까지 가지고 있어 요. 정말 마법 같은 하루였어요.
이상적인 도피지는 어디인가요?
가장 힘들었던 생계형 일은 무엇인가요?
철거 건설에서 잭해머를 다루는 일이었어요. 정말 힘들었죠. 1987년에 뉴욕에 왔을 때, 다른 사람들처럼
낮에는 일하고 밤에는 그림을 그렸어요. 많은 다른 예술가들과 함께 실내 페인팅도 했고, 한동안 카메라도
실었지만, 잭해머는 정말 끔찍했어요.
어렸을 때 당신의 삶의 방식을 가장 잘 묘사하는 TV 시리즈는 무엇인가요?
오, 아마도 Wide World of Sports일 거예요. 지난 10년간 TV를 많이 안 봤지만, 어릴 때는 그 프로그램을 정말 즐겨봤죠. 저는 항상 스포츠와 관련된 일을 했어요—서핑에서부터 야구, 그리고 나중엔 조정도 했죠.
그게 어떻게 캘리포니아 대학에 가게 된 이유 중 하나예요. 우리는 오클랜드의 하천에서 조정을 했어요.
가장 소중한 기억은 무엇인가요?
몇 년 전에 아버지와 골프를 치면서 아버지가 홀인원을 한 기억이 있어요. 정말 멋진 일이었죠. 이제는 골프
를 안 하고, 10년 전쯤 그 골프채를 내려놨어요.
당신을 웃게 만드는 건 무엇인가요?
사람들이 서로 도와주는 모습이에요. 오늘날 세상에서 일어나는 많은 일들 속에서, 그런 모습이 정말 중요 하게 느껴져요.
당신을 울게 만드는 건 무엇인가요?
세상의 고통과 사람들의 고통이에요. 정말 끔찍한 일들이고, 그런 일이 있어서는 안 된다고 생각해요.
판매를 축하할 때 즐겨 마시는 음료는 무엇인가요?
글렌모렌지 18년산 하이랜드 싱글 몰트 스카치 위스키예요. 이건 아주 희귀하고, 저는 이 18년 aged 스카 치를 좋아해요. 그래서 잘 숨겨두고 있어요, 아니면 금방 없어질 테니까요.
올 나이트 후, 당신의 챔피언 아침 식사는 무엇인가요?
그건 아주 간단해요—강한 커피, 토스트, 그리고 땅콩버터와 잼이에요. 많이 먹었어요. 예전에 뉴욕 알파벳 시티에 살 때는 정말 먹을 게 부족했지만, 그게 제 주식이었고 그걸로 버텼죠. 요즘은 그렇게 올 나이트를 하지 않아요.
누가 당신에게 영감을 주나요? 주로 무엇이든 한계를 넘는 일을 하며 위험을 감수하는 사람들에게서 영감 을 받습니다. 그들이 하는 모든 일이 아니라, 주로 예술가들에 관한 이야기죠. 정말 많은 사람들이 있지만, 저는 추상 표현주의자들을 매우 좋아합니다—주로 조안 미첼(Joan Mitchell). 폴록(Pollock)도 좋아하고, 20년 전에는 그를 꼽았을지도 모르겠지만, 제 개인적인 의견으로는 조안 미첼이 그들 모두를 이겼습니다. 그녀의 작품을 많이 봤거든요. 제가 너무 나서고 싶진 않지만, 세상엔 많은 여성들이 인정받지 못하는 경우 가 많아요—프랭켄탈러(Frankenthaler)도 마찬가지고요. 그녀가 부유한 가정에서 나왔다고 비판하는 사람 들도 있지만, 그녀는 정말 대단한 작품을 만들어냈습니다.
당신의 가장 큰 장점은 무엇인가요? 인내심입니다. 저는 정말 인내심이 강해요.
가장 큰 단점은 무엇인가요? 다시 인내심으로 돌아가네요. 저는 때때로 너무 관대해지고, 모두에게 너무 많 은 시간과 기회를 주려고 해요. 하지만 그건 우리가 모두가 성공하기를 바라기 때문이죠, 그렇죠?
자신에 대해 한 가지를 바꿀 수 있다면 무엇을 바꾸고 싶나요? 저는 평생 기타를 사랑해왔고, 더 나은 기타 리스트가 되고 싶어요. 조금은 칩니다만, 실제로 연주를 시작한 건 몇 년 전부터예요. 아내가 몇 년 전 크리 스마스 선물로 아름다운 기타를 사줬고, 그 이후로 몇 가지 레슨을 받으며 연주를 시작했어요.
가장 큰 성취는 무엇이라고 생각하나요?
지금 기분은 어때요?
모든 면에서 완전히 준비가 되어 있어요. 9월에 오클 라호마 털사에 있는 Orth Contemporary에서 개인 전시가 있기 때문이에요. 갤러리의 주인인 케이티 오 스(Katie Orth)는 샌프란시스코의 큰 갤러리에서 여
러 해 동안 일했지만, 그 후 오클라호마로 돌아왔어요.
우리 공통의 친구가 저와 그녀를 소개해줬고, 제가 몇
점의 작품을 보내자 그녀가 2018년 시즌 첫 전시를
열어보자고 제안했어요. 지금은 정말 멋진 작품들이
나왔고, 너무 신나고 기대돼요. 전시가 곧 다가오고 있
는데, 정말 멋진 전시가 될 거예요.
죽음을 피한 것! 저는 중앙 캘리포니아의 Hazards라는 서핑 포인트
에서 10피트(약 3미터) 파도를 타고 있었어요. 그때 두 명의 증인이
있었어요. 절벽에서 지켜보던 사람이랑, 저와 함께 paddled out했 던 제 형이었죠. 형은 파도가 점점 더 커지고, 베이가 클로징 아웃되
면서 돌아갔어요. 하지만 저는 계속해서 더 멀리 나갔죠. 결국 파도
는 결국 저를 밀어냈지만, 저는 거대한 바위 옆에 밀려 올라갔고, 그
바위를 기어 올라갔어요. 흰 물이 그 바위에 부딪힐 때, 저는 그 위로
몸을 날려 보냈고, 어떻게든, 어떤 별이 저를 비추었던 걸까요, 결국 paddled in 할 수 있었어요. 정말 극적인 날이었죠.
만약 다시 태어난다면, 어떤 사람이나 물건이 되고 싶 나요?
우주비행사가 되고 싶어요. 어릴 때, 지미 헨드릭스를 들으면서 그가 기타로 만들어내는 소리들과 우주에 대 한 이야기를 듣곤 했죠. 저는 제트기와 로켓을 타고 지
구를 떠나는 것에 매력을 느껴요. 그리고 그 과정에서 우주에서 둥둥 떠있는 느낌이 좋아요, 마치 데이빗 보 위처럼요. 지구를 내려다보면서, “도대체 여기서 무슨 일이 일어나고 있지?”라고 생각하는 것만으로도 정말 멋진 경험일 것 같아요.
[Cover photo by Eric Minh Swenson] Jimi Gleason’s exhibition, Cross/Reference opens at William Turner Gallery September 21 –November 9, 2019
Press Coverage II
[ Wipeout ]
Jimi Gleason’s painting are a real drag - and it’s a good thing
by John Photos, 3 March 2010
지미 글 리슨의 회화는 모든 면에서 ‘매끈하다’는 표현이 딱 들어맞는다.
웨스트 코스트 미니멀리스트를 자처하는 그 리슨은 스퀴지 기법을 활용해, 노련한 유리창 청소부처럼 색을 넓고 직각으로 쓸어내린다. 물감을 캔버스에 입히는 방식은 실로 다양하지만—막대기로 긁거나, 부어내거 나, 심지어 누드 모델의 몸을 사용하는 방식까지—스퀴지는 그중에서도 가장 기계적이다. 표면은 거의 질감 이 느껴지지 않는 평평한 유약처럼 마무리되며, 장인이 아이싱한 케이크를 떠올리게 한다. 글리슨의 손을 거치면 이 기법은 고풍스러운 거울처럼 반짝이는 화면을 만들어낸다.
작품을 보고 나도 모르게 만지고 싶다는 충동이 든다면, 그건 작품에 대한 최고의 찬사일 것이다—물론 실 제로 손을 대진 못했다. 루앨런 갤러리에는 감시 카메라가 ‘당당하게’ 여기저기 설치돼 있으니 말이다.
글 리슨의 표면이 자아내는 촉각적인 유혹은 시각 이상의 감각을 자극한다. 구체적인 소재나 이야기 없이 순 수한 추상으로만 이뤄진 화면에서 관람자는 그저 ‘감각’ 자체에 머물게 된다. 결국 순수 추상에서는 ‘그것’과 ‘그것다움’만이 존재한다.
그러나 글 리슨의 제목들은 또 다른 이야기를 던진다. “Phantom(팬텀)”이나 “The Vision(비전)”처럼 어 딘가 불가사의하고 애매한 단어들. 솔직히 말하자면, 형편없는 제목을 붙인 추상화와, 지나치게 사적인 이 미지를 놓고 “무제(Untitled)”라 붙인 작품 중 어떤 쪽이 더 싫은지 모르겠다. 글리슨의 경우 “Bounc ing Soul(튀는 영혼)”이라는 제목을 본 순간, 그냥 더 이상 제목은 읽지 않기로 마음먹었다.
공간으로 시작해, 가장자리로 갈수록 불규칙하게 퍼져나가는데, 마치 너무 많이 태운 고대 해적의 지도처럼 보인다. 물감은 마치 한 번에 모두 올려놓은 것처럼 캔버스 위에 완벽한 살을 형성하지만, 가장자리에서 물 감이 꺼지고 뒤틀리며 그 느낌은 바로 무효화된다. 이건 깔끔한 기술로, 깊이감을 만들어내는 데 중요한 역 할을 한다.
또한, 아무리 억제하려 해도 작품을 보고 나면 결국 그 자국들을 들여다보게 된다. “그는 어떻게 이걸 해냈 을까?”라는 질문이 자연스럽게 떠오른다. 글 리슨 작품의 강점 중 하나는 깊이감과 절대적인 평면성이 동시 에 존재한다는 점이다. 어떤 경우에는 물결 모양의 형태가 표면 바로 아래에 숨어 있다가 불쑥 튀어나왔다 가 다시 평평하게 정리된다. 또 다른 경우에는 가장자리가 격렬하게 회전하면서, 차가운 암석 면을 내려가 는 듯한 날카로운 하강을 떠올리게 한다. 또 다른 경우에는 형태가 마치 그림자처럼, 무겁고 검은 선이 아래 쪽 가장자리를 따라 감싸는 듯한 효과를 낳는다. 개별적인 자국이나 지형이 거의 식별되지 않는데도 불구하 고, 이러한 착시는 인상적이다. 그 효과는 글리슨이 일부 작품에서 사용한 무지갯빛과 금속성 물감을 통해 한층 강조된다.
하지만, 글 리슨은 또 다른 작품들에서 자신이 만든 효과를 무너뜨리려고 시도한다. 특히 갤러리 남쪽 끝에 있는 큰 단색화들—빗자루로 그린 것처럼 보이는 화려한 작품들은 그의 의도를 의심하게 만든다. 또한 여러 작품에서는 균일한 구성이 갑자기 끼어든 가운데 줄무늬로 시끄럽게 방해받는다. 이 작품들은 전체적인 맥 락에서 보았을 때 호기심을 자아내는 이상한 변칙들처럼 보인다. 마치 작가가 좋아하는 작업 방식을 우연히 발견하고, 그것을 여러 가지 버전으로 시도하며 실험한 것 같은 느낌을 준다 (지금은 초록, 지금은 분홍, 지 금은 삼부작 등).
남쪽 끝의 작품들에 대한 연대는 알 수 없었다. 모든 작품이 2010년으로 날짜가 찍혀 있었기 때문이다. 나 는 이것이 작가가 가고 있는 방향이 아니라, 그저 짧은 우회나 술에 취한 판단의 실수였기를 바란다. 이 작 품들은 다른 작품들 사이에서 보기 싫은 형제처럼 눈에 띈다. 작가가 새로운 방법을 시도하는 것은 좋지만, 자신의 강점을 아는 것도 중요하다. 나는 이 전시가 좀 더 철저한 편집을 거쳤다면 더 나았을 것이라고 생각 한다. 이 ‘방 안의 코끼리들’은 다른 작품들이 펼치는 망막의 놀이터에서 방해 요소가 된다.
Jimi Gleason: Linked by Light
Through March 21
LewAllen Galleries at the Railyard
1613 Paseo de Peralta
4. Collecting Value
지미 글리슨의 작품은 독창적인 소재 실험, 개념적 깊이, 그리고 현대미술의 주요 흐름과의 접점 덕분에 높은 수집 가치를 지니고 있습니다. 그의 회화는 빛과 관람자의 인식을 능동적으로 반응하는 질산은(silver nitrate) 표면이 특징으로, 단순한 미적 아름다움을 넘어 감각적인 경험까지 선사합니다. 이러한 특성은 전통 회화의 경 계를 넘어서는 작품을 찾는 컬렉터들에게 큰 매력으로 다가갑니다. 아래는 그의 작품이 투자 가치와 수집 대상 으로서 의미를 갖는 주요 요인들입니다.
글리슨은 산업 소재이자 과거 사진 인화 및 연금술적 변형과 관련된 질산은(silver nitrate)을 사용함으로써, 동 시대 추상미술 속에서 독보적인 위치를 차지합니다. 그는 공들인 에어브러시 기법과 복잡한 화학 반응 과정을 통해, 빛과 표면 사이에서 유례없는 상호작용을 이끌어냅니다. 이러한 차별화된 접근은 그의 작업을 Light & Space 무브먼트의 계보 속에 놓이게 하며, 이는 인식과 빛을 탐구해온 제임스 터렐(James Turrell), 로버트 어 윈(Robert Irwin), 래리 벨(Larry Bell) 등 높은 시장 가치를 지닌 작가들과 그 궤를 함께합니다.
2. Market Position and Institutional Recognition (시장 포지션과 기관의 인정)
지미 그리슨의 작품은 해머 미술관(Hammer Museum), 롱비치 미술관(Long Beach Museum of Art), 시애 틀 미술관(Seattle Art Museum), 투손 미술관(Tucson Museum of Art) 등 주요 미술 기관에서 전시되어 왔 습니다. 이처럼 기관의 지원은 작가의 지속 가능성과 시장 안정성을 보여주는 중요한 지표로 작용합니다. 더불 어, 그는 전설적인 작가 에드 모지스(Ed Moses)의 스튜디오에서 작업한 경험을 바탕으로, 영향력 있는 예술적 계보와 연결되어 있으며, 이는 컬렉터들이 높게 평가하는 역사적 맥락 안에서 그의 작품을 자리매김하게 합니 다.
3. Aesthetic Appeal and Architectural Integration (미적 매력과 건축적 조화) 글리슨의 작품은 반사성과 상호작용이라는 특성 덕분에 특히 모던하고 미니멀한 공간을 지향하는 컬렉터들에 게 높은 선호도를 보입니다. 그의 회화는 현대적인 인테리어와 자연스럽게 어우러지며, 주변 환경을 반사하고 공간의 분위기를 한층 강화합니다. 이러한 특성은 조명 변화와 공간의 움직임에 따라 작품이 살아 움직이듯 반 응하길 원하는 고자산 컬렉터들의 취향과 잘 맞아떨어지며, 대형 스케일의 임팩트 있는 작품을 선호하는 수요 와도 연결됩니다.
4. Comparisons to Market Trends (시장
트렌드와의 비교)
빛, 물성, 산업적 공정을 탐구하는 작가들의 작품은 2차 시장에서 꾸준한 가치 상승세를 보여왔습니다. 아니시 카푸어(Anish Kapoor), 래리 벨(Larry Bell), 더그 휠러(Doug Wheeler)와 같은 작가들은 감각적인 몰 입을 제공하는 작품으로 특히 컬렉터와 기관들의 수요가 증가하고 있습니다. 지미 글리슨의 작업은 표현 방식 에 있어 차별화되어 있지만, 이러한 흐름과 맞닿아 있으며, 장기적인 투자 가치 측면에서 긍정적인 가능성을 시사합니다.
5. Limited Production and Future Potential (제한된 작업량과 미래 가치) 글리슨의 작업은 고도의 신체적 노동과 복잡한 화학 공정을 수반하기 때문에, 자연스럽게 작품 수가 제한적일 수밖에 없습니다. 이러한 희소성은 시간이 지날수록 수집 가치를 높이며, 시장에서 더욱 주목받는 요소로 작용 합니다. 현대 추상미술과 Light & Space 전통에 대한 그의 기여가 점점 더 평가받고 있는 만큼, 그의 작품은 예 술적 가치뿐 아니라 재정적 측면에서도 지속적인 상승 가능성을 지니고 있습니다.
지미
