Hello,
You must be here because you’ve either seen or heard about the Floor exhibition at Wasps and would like to know more. Great!
My name is Jason Kerley, I’m an illustrator and artist based in Glasgow. I’m responsible for the two window installations currently at the Briggait Project Space that Floor comprises.
If you have questions or comments about the work, please use the form below and I will reply as soon as possible.
Please be aware that questions and answers will be posted to this page for anyone else who might be interested, (but you can choose to remain anonymous if you like).
Thanks,
Jason
Q4
Hi. Really liked the work! I was wondering how you cut the individual pieces as they look so clean. I couldn’t work out if they were hand cut or die cut, or something else?
Ta Sarah. They are made with a plotting machine, the kind of thing that is used to cut vinyl decals. After turning my drawings into vectors, the computer guides a small blade across the card. It still takes a while, but made the short turn around possible (plus it cuts much nicer lines than me)!
Pictured is another installation I made using the technique, organised and photographed by Alexander Hoyles
Q3
Why is the installation called Floor?
The short answer: I was thinking a lot about forest floors and seabeds, (partly thanks to learning a wee bit about foraging from my friends William Lynch and Alicia Matthews).
The long answer: I like how easily thresholds between macro and micro can be crossed under our feet. By necessity floors are mostly an unconsidered utility, but it can also be a bustling cornucopia of life if you choose to look closer.
A few references that discuss similar perception shifts that I like: The scene in Roadside Picnic from which it takes its name. The intro to Michel De Certeau’s essay Practices of Space. The game Everything by David OReilly, (and the accompanying Alan Watts recordings)
Q2
Hi Jason, love the work - I was wondering how do you store the work when it’s not being shown, paper is so fragile, how do you stop it from getting damaged / damp and how do archive everything?
Cheers Liz, glad you liked it.
Both installations will pack flat once disassembled, but to be honest I’ll probably just recycle them into something else or see if someone else wants to. I don’t archive my work, frankly because I don’t have a reason to. I can’t imagine ever showing these works again, so Id rather the materials were re-used than gather dust in this form. It’s a bit naff to talk about the beauty of impermanence, but it is nice to think that these pieces only exist for the next few weeks.
Q1
Nice work Jason! When did you first start making cut paper works in this way?
Thanks Nikki. The first time I remember doing this was somewhere in the noughties. I lived in a very small room that was as wide as a single mattress and I had attached string from wall to wall to hang small collages from. I was collaborating with my good friend Catherine Watson a lot at the time and we made a few of these together, the largest of which, (and closest to what I have made at the Briggait), was for a window display at the Old Firestation in Oxford (pictured).