Jason Garcia was born in Orange, California in 1975. He earned a BFA from the University of California, Los Angeles in 1997 and his MFA from the University of Colorado, Boulder in 2014.
Having a firm belief in the ability for art to make a difference and being committed to giving back to his community, within his career Garcia’s art has raised over 50,000 pounds of food for Pine Ridge Indian Reservation and local food banks through Conscious Alliance food drives; paid for six teachers' salaries in musical programs in Gugarat, India through Ahimsa Benefits; increased awareness and cultural education via The Sikh Heritage Foundation; enriched the lives of inner city youth through mural programs at Precita Eyes Mural Arts Center of San Francisco; been used for banners in Rainforest Action Network activist demonstrations; contributed toward the building of a music and creative writing school in Johannesburg, South Africa through a Playing For Change benefit; acquired funding for local art programs in Seattle through sales of prints and paintings with the NFL, supported the Rocky Mountain Raptor program through a donation of all proceeds acquired through the tattooing of raptors and was part of educational curriculum for a community outreach program for at-risk youth in the justice system through the Boulder Museum of Contemporary Art ArtLab. Fundamental to his art practice, Garcia consistently cultivates a connection to his community by continuing to be a devoted resource.
Garcia's studio is currently in Denver. When not producing, he loves spending time with his beautiful wife and their dog, Max.
My concerns reside in a universal action and devotion to observance, translation and understanding of an object. The understanding of an object is what transcends that object into being a symbol as a placeholder or signpost for meaning. Taking an object outside of oneself and assigning meaning to it is a way to domesticate that object. For me, it is a way to tame what is perceived as the other in an attempt to control and understand it. Ultimately, that understanding is a hermetic abstraction of the object itself. It is an acceptance of a satisfactory truth, a universe within, located in an abyss of meaning and content. That dissonance, a type of interior misunderstanding, has all the indications of being a self-portrait derivative of a limited autobiographical experience. My work requests the viewer to contemplate his or her own.
My work is rooted in autoethnography, an approach that aims to represent and systematically deconstruct personal experience in an attempt to understand cultural experience. The work is an embodiment of the exact difficulty that we can encounter with the idea of definitive fact and meaning given to objects. The result is a collapsing of a medium functioning as a testament to a portrayed truth, a truth of the actual illustrative surface and a multifaceted truth that resides in the same autobiographical location as the artist and the viewer.
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