Early Life and Artistic Beginnings

Julian Onderdonk was born to Robert Jenkins Onderdonk, a renowned Texas artist known for his depictions of the American Southwest, and his wife Emily Gould Onderdonk. Growing up in a family of artists, young Julian was exposed to art from an early age. His father’s dedication to capturing the natural beauty of Texas had a profound influence on the young artist’s development.

At the age of 19, Julian Onderdonk embarked on his formal artistic education at the Art Students League of New York, a prestigious institution known for nurturing emerging talents. He studied under renowned artists William Merritt Chase and Frank Vincent DuMond, both of whom played crucial roles in shaping his artistic style.

Onderdonk’s early works were heavily influenced by the teachings of his mentors and the prevailing American Impressionist movement of the time. He developed a fascination with the effects of light and atmosphere on the landscape, a hallmark of Impressionist art.

The Texas Bluebonnet Series

Julian Onderdonk’s artistic career reached a turning point when he returned to his native San Antonio in 1909. It was during this time that he embarked on what would become his most iconic and celebrated series of paintings – the Texas Bluebonnet series. These works are a testament to Onderdonk’s deep connection with the Texas Hill Country and his ability to capture its essence with remarkable skill.

The Texas Bluebonnet series primarily features fields of vibrant bluebonnets, the state flower of Texas, set against the backdrop of the Hill Country’s undulating hills and clear blue skies. Onderdonk’s mastery of color and light is evident in these paintings, as he expertly conveys the interplay of sunlight on the landscape, creating an ethereal and almost dreamlike quality in his works.

One of the most renowned pieces from this series is “Bluebonnet Landscape.” This painting, with its striking blue and green hues, is an exemplar of Onderdonk’s ability to infuse his canvases with a sense of tranquility and natural beauty. It remains an enduring symbol of the Texas Hill Country’s allure.

Technique and Style

Julian Onderdonk’s artistic technique and style set him apart as a luminary of American Impressionism. His work is characterized by several distinctive features:

1. Luminosity: Onderdonk had an exceptional ability to capture the brilliance of natural light in his paintings. He employed a delicate and layered technique, using thin washes of paint to create a luminous effect that bathed his landscapes in a soft, radiant glow.

2. Color Palette: The artist’s choice of colors was a defining element of his style. His use of blues, greens, and purples to depict the Texas Hill Country’s flora and landscapes is particularly noteworthy. Onderdonk’s color palette conveyed a sense of harmony and serenity that resonated deeply with viewers.

3. Brushwork: Onderdonk’s brushwork was expressive yet controlled. He combined loose, impressionistic strokes with finer details to create a sense of depth and texture. This technique allowed his paintings to convey both the immediacy of the scene and a sense of timelessness.

4. Atmosphere and Mood: Beyond mere visual representation, Onderdonk’s paintings exude a sense of atmosphere and mood. His landscapes often evoke a feeling of tranquility and contemplation, inviting viewers to immerse themselves in the scenery.

Recognition and Legacy

Julian Onderdonk’s contributions to American Impressionism and his dedication to depicting the Texas Hill Country earned him recognition and acclaim during his lifetime. He exhibited his works in prestigious venues such as the National Academy of Design and the Pennsylvania Academy of the Fine Arts. His art resonated with audiences, and his paintings found their way into private collections and museums.

Tragically, Julian Onderdonk’s life was cut short at the age of 40 when he succumbed to pneumonia in 1922. Despite his relatively brief career, his impact on the art world, particularly in Texas, endures to this day. His legacy is celebrated through museums, galleries, and institutions dedicated to preserving and showcasing his work.

The San Antonio Art League Museum houses a significant collection of Onderdonk’s paintings, providing visitors with the opportunity to appreciate the artist’s profound connection to the Texas Hill Country. Additionally, the Witte Museum in San Antonio features an extensive exhibit dedicated to Onderdonk’s life and work, allowing art enthusiasts to delve into the artist’s creative journey and his lasting impact on the region’s artistic heritage.

Contemporary Influence

Julian Onderdonk’s influence extends beyond his own time, with contemporary artists finding inspiration in his works and the landscapes he celebrated. The Texas Hill Country continues to attract artists who seek to capture its captivating beauty on canvas.

Artists like David Caton and Margie Crisp have drawn from Onderdonk’s legacy and the Texas Bluebonnet series in their own creations. They pay homage to his ability to convey the unique allure of the region and its natural splendor.

Conclusion

Julian Onderdonk’s artistic legacy is inseparable from the Texas Hill Country. His ability to capture the essence of this remarkable landscape through his luminous and impressionistic paintings has left an indelible mark on American art. His Texas Bluebonnet series, in particular, stands as a testament to his mastery of color, light, and atmosphere.

As we admire Onderdonk’s works today, we are transported to a world where the Texas Hill Country’s rolling hills and wildflowers come alive on canvas. Julian Onderdonk’s enduring influence serves as a reminder of the power of art to connect us with the natural world and the cultural heritage of a place. In the heart of Texas, his paintings continue to kindle a sense of wonder and appreciation for the timeless beauty of the Hill Country he so masterfully depicted.

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CASSANDRA CLARKE

Cassandra Clarke is a Chicago-born visual artist based in Austin and Miami who specializes in a variety of mediums. Her recent work is inspired by the fragility and beauty of nature.

MAEVOLUTION

Mason Bradley, aka MAEVOLUTION, is a self-taught emerging artist born and raised in Austin. His style is minimal as he combines colors, patterns, and Japanese imagery to create poster-like digital illustrations.

JANET NEVAREZ

Former ART contributor and 13th issue cover designer Jeanette Nevarez captures the beauty of the human form in intimate photographs.

ALYSSA YOUNG

Mixed media and acrylic artist Alyssa Young has always been inspired to create something new and unique.

HRYHORIY MIRALIYA

Trialist Gregory Miralia, aka Miltiad, paints and practices law in his dream job in Austin, Texas.

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So, of course, there is Onderdonk. Julian Onderdonk is considered the master of blue bonnets. His works are stunning, breathtaking, magnificent and valuable – up to half a million for a canvas.

Next, perhaps, is Porfirio Salinas, a master who was made famous by none other than the President of the United States and Texas, Lyndon B. Johnson.

Julian Onderdonk (1882-1922, San Antonio)

Robert Julian Onderdonk studied with his father, the artist Robert Jenkins Onderdonk, and then moved to the Art Students League of New York to study with William Merritt Chase, among others. During this same period, he also helped organize art exhibitions for the Texas State Fair in Dallas, which allowed him to become more familiar with the landscapes of the Lone Star State.

Jos e Arpa (1858-1952, San Antonio)

José Arpa y Perea was a versatile artist and a brilliant colorist. His ability to handle sunlight earned him the nickname “The Sun Man”. His style was realistic, and his free, flowing drawing created a fascinating atmosphere. Former Witte Museum curator emeritus and historian Cecilia Steinfeldt praised his “understanding of dazzling light and his manipulation of radiant color” and “skill as a watercolorist” in her book Art for History.

Emma Louisa (Richardson) Cherry (1859-1954, Houston)

Emma Louise (Richardson) Cherry was not only an accomplished artist, she was a very key player in bringing the Impressionist movement (from which many bluebonnet artists found inspiration) to the Texas art scene. Cherry brought the first exhibition of Impressionist art to Texas at the Texas Coast Fair in Dickinson in November 1896. In the exhibition catalog, Cherry describes Impressionism: “The pure prismatic effects of color, the brightness of daylight, and the vibration of atmosphere are the main points of this school of painting.”

Paul Rodda Cook (1897-1972, Austin, San Antonio, Houston)

Originally from Uvalde, Texas, Paul Rodda Cooke did not actually pursue a career as an artist until he came of age. It was an illness that forced him to return to San Antonio from out of state to take care of his family. His recovery required him to be outdoors, and Breckenridge Park was often his choice. It was here that he was inspired to sketch and paint trees. He soon crossed paths with Hugo Paul, who had a studio in the park. Paul became his first art teacher and provided Cook with the techniques to master his craft as a draftsman.

Cook continued his art education in Taos, New Mexico, where he studied with Walter Ufer and Leon Gaspar, then in Boston and Woodstock, New York, with several other well-known artists. Cooke was able to support himself by completing portrait commissions and selling his other paintings. Cecilia Steinfeldt described Cook’s work as representing “the transitional period between the Blue Bonnet school and the non-objective painting in Texas.” A highlight of Cook’s career was his solo exhibition at the Witte Museum of Art in 1935, where his Hill Country landscapes were compared to those of Onderdonk in terms of composition and execution.

Eloise Polk (EP) McGill (1868-1939, San Antonio)

Born in Independence, Texas, in 1868, Eloise Polk McGill began her studies with San Antonio artist Robert Jenkins Onderdonk and continued her studies at the Art Students League in New York City. Here she studied with William Merritt Chase and the miniature painter Rhoda Carlton Holmes Nicholls. She then spent some time in Paris under the tutelage of Robert Reed. She quickly gained popularity and exhibited extensively, starting in 1888 at the age of 20, always signing her work “EP McGill”.

McGill was an impressionist painter. She experimented with texture, purposefully introducing it into her work. McGill’s landscape paintings capture the essence of natural light, from the dazzling midday light to the warmth of the golden hour.

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Larry Prellop – land and seascape painter

When it comes to land and seascape paintings, there are few better in this artistic medium than Larry Prellop. A professional artist for over 50 years, Prellop’s paintings have been sold all over the world. Now he works his magic at his Prellop Fine Art Gallery, which he opened in 1995 after seeing how well his work was selling at Salado Art Gallery.

Kay Griffith is an abstract expressionist

Kay Griffith’s colorful, thought-provoking paintings have earned her a reputation as one of the world’s best abstract expressionists. An artist since the mid-1990s, Griffith’s paintings have been shown in art galleries and competitions across the country, Canada, Japan, and Europe. Luckily, you don’t have to travel the world to see Griffith’s inspiring work, as she has been working out of her Salado studio since 2003. Even then, Salado “had a reputation for having a wide range of original art that attracts clients from all over Texas, the country, and beyond.”

Bob Hargrove – painter, photographer and jewelry artist

An artist of many talents, Bob Hargrove has been a significant part of the Salado art scene since 1999. “I love the different aspects of all the different mediums I work in,” says Hargrove. “Photography is very precise and methodical, while oil painting is the opposite. I like to paint large and colorful annotations. Painting is much freer for me. Through jewelry, I can join people in their happiness.” An artist from a young age, he now draws inspiration from music, ancient mythology, and “seeing and hearing about the work that my fellow artists do here in Salado.” He first came to Salado for a summer job at a studio owned by Ann Benton, wife of founder Jim Benton, when he was 16. It was here that he learned the craft of jewelry making.

Michael Pritchett – artist and illustrator

It took only one visit to convince Michael Pritchett to open a gallery in Salado. “I absolutely fell in love with the creative community and decided to make Salado my home,” Pritchett said. “I didn’t know much (about the village) before I opened my gallery here, only that there was a collection of very talented artists throughout the community. Honestly, it was a utopia for artists making a living.” Pritchett, a former fashion designer and graphic artist, has painted with acrylic and oil paints, charcoal, colored pencil, graphite and pastels at the Sirril Art Gallery.

Holly Davis is an acrylic artist, illustrator and pyrographer

“For as long as I can remember, I’ve dreamed of selling my art,” says Holly Davis, artist and owner of Uniquely Salado. An expert in acrylic paintings, pen and ink illustrations, and woodburning, Davis says she enjoys all forms of art, but she has a favorite. “I love my painting called ‘Rain,’ a contemporary abstraction that has texture and movement because it stimulates conversations, evokes emotion, and speaks to a time in my life that continues to this day,” she says.

Nature and the work of other artists are Davis’ muses for her own work, which you can see (along with Rain) at Uniquely Salado. Uniquely Salado, an artists’ cooperative, is a microcosm of Salado’s art scene, as it features art created by more than 30 local artists, from painters and photographers to carpenters and weavers. “Salado is a unique place that attracts many artists,” she says. “Wherever you go, you will find works of art. It’s a great place to find quality original artwork by locals who often create their artwork while you shop. In my gallery, the artwork is not reproduced from originals, but instead one-of-a-kind pieces at prices you can afford.”

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A woman long ahead of her time, Gay Geddis founded T3 in 1989 in Austin, which has grown to become one of the largest women-owned advertising agencies in the country. She now paints Texas landscapes from her ranch in the Hill Country. All twenty pieces presented during her first exhibition at New York’s Curator Gallery last May sold out.
Photo courtesy of Gay Geddis

Textures, colors, and sizes – everything about Dan Lam’s sculptures is fascinating. She has cleverly named her various collections as they appear: “squishy,” “drippy,” and “drops.” But regardless of the category, we can’t stop exploring them from every angle. Born in Manila and educated at the University of North Texas, Lem uses polyurethane foam, acrylic paint, and resin to make her sculptures. (Miley Cyrus is a fan – she may have found her through Instagram, where Lem has over 115,000 followers.)

Kyle Steed has become a well-known muralist in the Big D, having completed large-scale works along the Trinity Strand walkway, on the roof of the Plaza of the Americas, and inside Oak Cliff Coffee. However, he also enjoys working on smaller canvases with just a pen and paper. Steed mostly avoids color, preferring a black and white palette. “I like the constraints it gives me, forcing me to deal with the intention of the piece rather than an emotional connection to color,” he says. From time to time, Steed shares pieces on his blog that are available for free download, like a recent small piece that featured the phrase “A Little Loves Goes a Long Way,” which he encouraged people to send to friends or post on their wall.

Xavier Shipani, a Washington, D.C.-based resident and Maryland Institute College of Art graduate, currently lives and paints in East Austin, where his work often explores sexuality, gender identity, and pop culture. His clever use of graphics and fearless approach to color have attracted fans such as the Foo Fighters. He created the cover art for the band’s EP Saint Cecilia, which was recorded over a long weekend at the South Austin hotel it is named after.

Trained as a landscape architect, Erica Huddleston spends her days painting on canvas in many of Texas’ urban parks. From Shoal Creek to the Trinity River, the artist who grew up in Dallas is most interested in exploring nature in urban settings. From huge branches to delicate flowers, all of the images in her paintings and drawings are life-size oils.

LAND’s Caleb Owen Everitt and Ryan Rhodes spend most of their time working on brands like Ace Hotels, Nike, and Patagonia from their headquarters in East Austin. And yet it’s their artwork, like this original oil on found canvas piece, that we can’t get enough of.

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Beth’s subjects are relativistic to cultural norms, drawing attention to historical concepts and events that society often chooses to ignore.

These days, the Texas-born Beth Rubel is something of a nomadic artist, traveling back and forth from Texas to California to complete her remarkable murals. At the age of 15, Beth painted her first mural at the Crisis Center in Bastrop, Texas, which consisted of bustling garden scenes in the therapy rooms. Since then, Beth has painted more than a dozen murals.

Most of Beth’s wall art is found throughout the state of Texas. However, Beth has completed four stunning murals in Sacramento. The last two murals, “I Believe,” completed in 2022, are located in Sacramento. And the newest mural, “Black History Month,” is located in downtown Sacramento behind the CRNA building.

The Paper Bag Test Series is a large collection of portraits of people of African or African American descent created in 2013-2017. Beth’s most recent work, Higher Education: Learning Toys, represents a movement and combines pop culture or current events with historical and iconic children’s toys.

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Jason is the author of a variety of artistic works as a filmmaker, animator, painter and muralist, both in collaboration and solo. His work includes political satire and Texas-inspired characters such as Jesus Cornbread and Alcoholics and Walker of the Dead. Archer’s early career in animation earned him a Grammy Award and an MTV Video of the Year Award for directing and animating Frijolero, a music video for the Mexican rock band Molotov. From 2011 to 2018, Archer launched the revival of mural culture in Austin by producing and curating Frank Public Art, a periodic public art project in downtown Austin. He is co-owner of Show Goat Mural Works, a mural development company specializing in the design and installation of large-scale murals such as Daniel Johnston’s Love is the Question? Jason has participated in numerous art shows, exhibitions and events, starting with Chianti Weekend, SXSW and the first Pop Austin International Art Show. He is also the curator of Preacher Gallery, a contemporary art gallery in Austin, Texas.

He worked as an animator on the feature film Waking Life, then began directing music videos for artists such as David Byrne and Latin musicians Molotov and Juanes. His short films include the satirical trilogy The State of Union, The Homeland Ho-Down and Clean Sweep. In 2006, he teamed up again with Richard Linklater and Tommy Pollack, this time as head of animation on A Scanner Darkly. Jason is a contributing illustrator to the Austin American Statesman and has been a guest lecturer at the University of Texas at Austin, Texas State University, and Tecnológico de Monterrey.

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From 1949-1951, he served as chairman of the art department at the University of Texas at Austin, became a professor of art in 1954, and served as director of the Graduate Studio of Art from 1961-74. In 1974, he retired as a professor emeritus and was recognized as one of the outstanding artists of Texas.

His work has been exhibited nationally and internationally, including the Texas Centennial Exhibition Dallas, Museum of Fine Arts, Annual Exhibition of Contemporary American Painting, Whitney Museum of American Art New York, Annual Exhibition of American Painting and Sculpture, Art Institute of Chicago, American Painting and Sculpture, Carnegie Institution of Pittsburgh, A Separate Part of the Earth, Pan American Union Washington, DC.

After his retirement from the University of Texas, he was honored with a retrospective exhibition, Selected Paintings and Drawings, 1950-1979. In 1993, he was honored with the exhibition “Companions in Time: Paintings by William Lester and Everett Spruce” at the Laguna Gloria Museum of Art.

Mr. Spruce has won numerous awards, including the Pepsi-Cola Painting of the Year Award, the National Academy of Design of New York, the Scheidt Memorial Award, the 142nd Annual Exhibition of the Pennsylvania Academy of the Fine Arts, the first prize in the exhibition of contemporary American painting, Galerie Giroux Brussels and was selected as the first artist to be featured in the Blaffer Series of Southwestern Art published by the University of Texas Press. He received a Ford Foundation grant retrospective exhibition distributed by the American Federation of Arts of the South, Midwest and West.

His work has been featured in numerous publications, including “Lone Star Regionalism, the Dallas Nine and Their Circle” by Rick Stewart, published by Texas Monthly Press; “Pecos to Rio Grande, Interpretations of Far West Texas by Eighteen Artists”, published by Texas A&M University Press; “The Texas Gulf Coast, Interpretations by Nine Artists, published by Texas A&M University Press, and Art for History’s Sake, The Texas Collection of the Witte Museum by Cecilia Steinfeldt, published by the Texas State Historical Association. In addition, he was honored by a resolution passed by the Texas House of Representatives and signed by then-Governor George W. Bush for his longstanding contributions to the art world and for his exemplary work as an educator.

In addition to being held in numerous private collections, his work is included in many public collections, including the Metropolitan Museum of Art in New York, the Dallas Museum of Fine Arts, the MH DeYoung Museum in San Francisco, the Fort Worth Museum, the Museum of Fine Arts, Houston, and the Marion Kugler Museum of Art, McNay Art Institute of San Antonio, Museum of Modern Art Rio de Janeiro, Museum of Modern Art New York, Phillips Gallery Washington, D.C., Southern Methodist University Dallas, Tulane University, New Orleans, University of Alabama, University of Nebraska, University of Texas at Austin, Whitney Museum of American Art New York, and the Whitney Memorial Museum San Antonio.

Mr. Spruce continued to paint and exhibit until he was 88 years old. He infused his paintings with a sense of music and poetry. In many cases, he could identify the exact location he translated into paint by describing the time of day, weather, light, and where he was standing when he looked at it. His paintings are rich in color, texture and mood, conveying power and meaning. He was an extremely productive artist who painted mostly landscapes, although he occasionally painted fascinating people, birds and animals.

Mr. Yalina was particularly fond of trees, of which he said, “each one has its own personality.” In addition, he appreciated nature, including mountains, cacti, birds, animals, the ocean, rocks, rocky terrain, the sky, and storms. He treasured all things Celtic/Irish, was fascinated by languages and different cultures, and enjoyed good music, Yeats, Thomas Hardy, William Faulkner, and other good literature. Teaching was his strong suit and many former students kept in touch throughout his long life.

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Olin Travis was born in Dallas, Texas, on November 15, 1888. He was the second of six children born to Olin Few Travis and Eulalia (Moncrief) Travis. His father was a printer. Travis graduated from Bryan High School in Dallas in 1906 and from Metropolitan Business College in Dallas around 1908. Fascinated by art since childhood and encouraged by his high school art teacher, Travis briefly studied in Dallas under Max Hagendorn. In 1909, he entered the school of the Art Institute of Chicago (AIC). He studied there for five years under the guidance of various instructors, including Charles Brown, Ralph Clarkson, Kenyon Cox, and Joaquin Sorolla y Bastida. He graduated with honors in 1914.

In 1913, Travis made his first trip to Arkansas accompanied by a classmate from AIC and spent four months sketching in the Ozarks. After returning to Chicago, he worked as an instructor at the AIC before taking a position at the Chicago Art Institute of Commerce.

Travis met Catherine Bess Hale while she was a student at the AIC in 1914. The couple married in Ozark (Franklin County) on November 15, 1916. They had two children. The Travises worked in the Chicago area before moving to Dallas in 1924, where they co-founded the Dallas Art Institute (DAI) with James Waddell. The first major art school in the South to offer training in a variety of fields, DAI closed in 1945. Travis was a teacher there and served as its director until 1941.

In the summer of 1927, the Travises founded the Travis Ozark Summer Art School in an abandoned sawmill near Cass. Catherine Hale Travis, who grew up in nearby Ozark, had painted in the Cass area as a child, and the couple was able to rent the sawmill buildings very inexpensively. The school, which was an extension of the DAI, was held every summer for three years (although evidence suggests that additional summer classes may have been held as late as 1935). Up to fifty students attended the school. The camp had about fifteen roughly furnished cabins and a house. Classes were held for one to two months, starting in June, and were open not only to DAI students but also to Arkansas residents and other students from neighboring states. On weekends, students exhibited their paintings and organized dances,

Travis traveled to Arkansas almost every summer from 1914 to 1935. During one of these trips in 1925, he met Everett Spruce, a teenager who lived in Mulberry (Crawford County). In 1926, Spruce moved to Dallas to study under Travis at the DAI and eventually became a well-known American artist.

Although Travis worked primarily in Franklin County, he also spent time in Eureka Springs (Carroll County) and parts of western Arkansas. He enjoyed painting not only the beauty of the Ozarks, but also capturing its people in their daily activities, such as peeling peas, making sorghum, and picking cotton. Travis collected sun hats and painted a series of paintings of Ozark women wearing headdresses. One of these paintings, Whither, won an award for figurative composition at the Texas Union Art Exhibition in 1930.

Travis also painted in Colorado, Florida, Michigan, and Missouri. He held numerous exhibitions in the Dallas-Fort Worth area for approximately forty years beginning in 1914 and also exhibited in New York, San Francisco, and Chicago. During this time he received many awards and held several solo exhibitions of his work, including a retrospective at the Dallas Museum of Fine Arts in 1953. Travis was one of ten Dallas artists whose paintings were included in the Golden Gate Art Exhibition in San Francisco in 1938. His painting, titled “Country School,” was based on an old schoolhouse he painted in St. Paul, Madison County. In 1940, Travis participated in the short-lived annual exhibition of the Arkansas Watercolor Society. Olin Travis also created a number of murals, including two completed in 1936 with themes based on the discovery of oil in East Texas. He was an excellent portrait painter and was highly praised for his painting The Laborer (1930), which traveled the country and won numerous awards, as well as for his portrait of a ragged man from the Great Depression era called Mayor Hoover (1929).

Travis was one of the founders of the Art League of the Southern States and helped create the Dallas Federation of Artists in 1946. He remained an active artist until his death on December 4, 1975. He was cremated in Dallas.

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Originally from Kansas, making his way to Dallas for a few short years, and arriving in Austin in 2012, his journey was not for the faint of heart. His greatest inspiration is dedicated to his grandmother, Deb Anthony. As a child, he witnessed her “living in a garage and trying to pay the bills by working as a professional clown.” The life of an independent artist is one of trials and tribulations, and of learning from them and growing.

“The effort, creativity, and self-expression that my grandmother put into her art was extremely inspiring. She was the spark I needed at an early stage of my life. Watching her go through the hardships of life, having to endure them and turning them into the best possible outcome was a gift that helped me become who I am today.”

Iterli has spent endless hours in the studio, spent many nights on the streets, and spent years creating his unique style, hoping to bring a smile to his audience. He brings joy and wonder through his art and is “in the business of creating unforgettable experiences,” having recently moved from street art to cultivating original fine art.

If you’ve seen the infamous Queen Elizabeth in a gas mask around town, you’ve witnessed Jason’s pseudonym. His iconic imagery and avant-garde interpretation of urban decay have made him one of Austin’s most celebrated contemporary artists. Jason is known for his love of embellishing lost spaces, his transparency, and his courage and commitment to trying new and different things. His ever-evolving style has moved from the stage to BMX tracks to the street, and now to galleries and public spaces around the world.

Jason explains his art:

“I use this image as a symbol of what I do and as a form of repetition so that my fans can reconnect with the same artist, and I do this with stickers, wheat paste, paint rollers, and spray paint.”

His career would not be what it is today without a few special and influential people along the way. He kindly states: “My fiancé and manager Sarah, my local artist and inspiration Brandon Snow, and my former BMX partner Tom Dugan have all played an integral part in my current state.

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