Jason Wright, Tragedy of Open-Faced St. Sebastians or The Sacrifice of Artisanal Sandwiches for the Redemption of the Ethical Glutton, 2013
C-prints on paper

Jason Wright, Tragedy of Open-Faced St. Sebastians or The Sacrifice of Artisanal Sandwiches for the Redemption of the Ethical Glutton, 2013
C-prints on paper

Jason Wright, Tragedy of Open-Faced St. Sebastians or The Sacrifice of Artisanal Sandwiches for the Redemption of the Ethical Glutton, 2013
C-prints on paper

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Jason Wright, Tragedy of Open-Faced St. Sebastians or The Sacrifice of Artisanal Sandwiches for the Redemption of the Ethical Glutton, 2013
C-prints on paper

Jason Wright, Tragedy of Open-Faced St. Sebastians or The Sacrifice of Artisanal Sandwiches for the Redemption of the Ethical Glutton, 2013
C-prints on paper

Jason Wright, Tragedy of Open-Faced St. Sebastians or The Sacrifice of Artisanal Sandwiches for the Redemption of the Ethical Glutton, 2013
C-prints on paper

Jason Wright

Jason Wright is an artist living and working in Vancouver. He received a BFA in Visual Arts from Simon Fraser University in 1997 and an MFA in Sculpture in 2009. His recent practice peers into the pleasures and excesses of contemporary food culture in relation to one’s body. The work examines the communal performances of form, the smacking poesy of lips, the creamy comedy of slick tongues, the playful pulls and squishes of mouths dripping and salivating words, and the joyful spillovers of conversations and connections.

Food(ie) culture in all its sexy vigour may unite us in pleasure to be sure, but it is the slippery mush of our bodies that truly connects us. Not the long table, not the artisanal sausage, not the handmade ice cream, nor the designer juicer. (The language surrounding the trend of artisanal food culture often eerily parallels that of earnest contemporary art speak: rhetoric of community and of community based values, of organic process, of cultural service, of broad yet local cultural inclusions and brandings, of green interventions, and ultimately of transcendent social purposefulness.) On the surface, Wright’s work may appear as a sneering play against excessive consumption, against “consumer culture.” But how does one elude this consumer culture? It is not something one merely avoids or navigates around. Culture-as-traffic-accident. Rather, one takes it all in as one may food: consumer data cascading in and out of one’s body. This lyrical model of consumption is a tract, a body. One takes it all in and yet it all must leave. Food to body to waste. This work looks to examine not only what we consume but how this consumption moves through our bodies and, ultimately, how this movement may connect us as individuals and as larger communities—however grotesque, however beautiful.

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