The fourth iteration of Alliance features the work of Jason REVOK, with proceeds directed to the Innocence Project. REVOK’s assemblage works have held an ongoing presence in his practice since 2012 when he first lived in Detroit and utilized found wood and metal scraps to create layered groupings of raw material and paint. This would be his initial departure from more traditional graffiti-inspired work and came at a time when the artist was asking questions about identity and perception as a way to navigate a new chapter in his life and career. The works developed further again in 2014 when they shifted from collages of found materials to concentric patterns made from precise cuts of wood created entirely in studio. This evolution of his assemblage works have echoed moments in time, and much like two of his greatest inspirations, Frank Stella and Robert Rauschenberg, this introspection has moved him back and forth between 2 and 3-dimensional works throughout his career; Stella described this goal to ‘construct a painting’ in the early 1970s with his Polish Village series. Similarly, REVOK creates a cradle for his intricate woodcuts, laying them in concentric patterns inside. Further elements wrap around the work, breaking the pattern and adding additional dimension. REVOK recognizes within these works a sentiment that seems to merge the human hand—and as an extension, the body and mind—with technology, existing at a place where the organic and the algorithm meet.
“When I first started working on the assemblages, I wanted to take the chance to reimagine myself as a person and not be defined by my past.”
— JASON REVOK
The Innocence Project — which was founded in 1992 at the Benjamin N. Cardozo School of Law — is the first legal organization in America to systematically apply DNA testing to prove innocence. To date, 375 people have been exonerated with DNA testing and the Innocence Project has provided direct representation and/or critical assistance in 231 cases. The Innocence Project's mission is to free the staggering number of innocent people who remain incarcerated and to bring reform to the system responsible for their unjust imprisonment.
“At the Innocence Project, we work daily to advance justice and equality for all because as Martin Luther King, Jr., famously said ‘the arc of the moral universe is long, but it bends toward justice.’ And through our work to free the innocent, prevent wrongful conviction, and hold the system accountable, we strive to bend that arc closer to justice.”
— The Innocence Project
Entirely self-taught, Jason REVOK is known for pushing creative boundaries that began in the street. Although his story begins with graffiti, the artist has spent the last decade focussing on his studio practice and the evolution of process and concept. Refusing to be limited by his early recognition, REVOK allows only certain elements from graffiti culture to transition to his contemporary work—modest materials and industrial tools, ingenuity, his name—but his proclivity towards minimalism and post-painterly abstraction has become the driving force behind his practice. Examining the question of authorship from start to finish, REVOK has developed systematic yet imperfect tools to carry out his vision and has created a number of unmistakable bodies of work. His bold, balanced, geometry is heightened by the personal and imperfect sleight of the human hand.
REVOK has exhibited in the Museum of Contemporary Art Los Angeles as well as the Pasadena Museum of Contemporary Art; in galleries and special projects in New York, Los Angeles, Detroit, and Dubai; and is in important private collections worldwide.