Tag Archives: Jason Herzmark

Still Future Edinburgh Art Show

I ( Jason Herzmark ) am currently showing woodblock prints made in collaboration with an Artificial Intelligence.

Repurposing Facial Recognition Software used to identify faces in crowds to generate images of the machines idea of us.

The machine produces images that are not quite faces but ambiguous pixel art that seemingly alters with distance as our own facial recognition moires with the tropes of the neural network.

A program helps me ink the woodblocks for the 56 impressions to produce each greyscale image in carbon ink on somerset cotton rag paper.

These prints can be seen at St Margrets House in Edinburgh from Feb 8th through 16th 10-4 in Still Future, a group show featuring the Artists :

Richard Ashrowan , John Ayscough , Martin Fowler , David Fryer , Jason Herzmark , Chad McCail , Billy McCall , Robert Montgomery & Andrew Smith

Poster for Still Future 2014 Group Show Edinburgh


Cleary, Mac & Herzmark Group Show, “The Joy of Shame”, at the White Rabbit Edinburgh

ODD CLEAN and EVEN Drawing by Andy Mac 2013 Art_Herzmark_Cleary_Mac_The_Joy_of_Shame_White_rabbit_2013 Artwork by Jason Herzmark is currently on show at the White Rabbit Gallery and Fashion in Edinburgh.

The exhibition is titled “The Joy of Shame” curated by gallerist Heather Craig.

Andy Mac, Theo Cleary, and Jason Herzmark present the “Joy of Shame”.

Open 12-6 every day except 12-5 on Mondays and Sundays.

Paul Carter and Jason Herzmark – Installation Art – Edinburgh College of Art – 1994

I had a notion that an old Philips Valve Radio was a portrait of the creative individual – trying to tune in to the Creative Background Signal of the Collective Cultural Unconscious.
My thinking was that the medieval tradition that art was received from the Prime Creator, God was a needed humility to Vasari’s Rennaissance notion of individual creativity which unbound had led to ego-hubris of the artist.
Not to say it was untrue, just that too much weight was placed on free-will and inspiration came from some other place.
In practice the difficulty was getting the ‘reception’ right, tuning-in and becoming a less imperfect vessel to work with the form of the Beautiful.

Installation, mixed media, blackboard, chalk, found valve radio, empty medicine bottles, plaster classical muse and green cloth.

A Greek muse, a radio tuning into God’s station, balanced on a pile of empty medicine bottles and then two blackboards – upon which would be written some text about the balancing the Dionysian and Apollonian forces of chaos and order, treading the liminal edge between ego and id, the state at the edge of sleep, where lies the fount of inner wisdom and when one could hear most clearly the muse. A knife edge that line, one the one hand prophetic creativity on the other societal disapproval and the removal of liberty from the unbouded mind and confinement to a Bedlam.

Well I was going to write something along those lines, but lunch-time.
While I was away eating lunch Paul Carter, newly minted Professor of Sculpture at Edinburgh College of Art, passed by. Paul was familiar with my work and knew I would scrawl something long and referential on the blackboards – as evidenced by the many erased previous Beuysian mytho-poesies partially visible as erased chalky patina.

Paul Carter had a quick wit and on passing my unfinished exhibit was inspired by the empty black boards and chalked: ‘

Pure aesthetics
by the intellect

on them.

This was so utterly correct and right, so neat and so much what I wanted to say without all the words and Classical allusions and Jungian Archetypes and Neitschian dualities.
So perfect a criticism and summation and fully prescent site specific concrete poem.
That I could not alter it.
So our spontaneous and inspired collaboration was shown there for the next fortnight of the summer of 1994.

From that I learned a lot.

Paul Carter was so very wise, so very tuned in – he could conceal great depth in brevity and humour with a light touch and a lighter heart.

A true zen master.