I work opportunistically, responding to the conditions in front of me — the surface, the movement, the object, the environment. Nothing is pre‑planned. The image is constructed in the moment, shaped by what is available and changing. This situational responsiveness is the foundation of my practice across painting and photography.

In painting, I build dense, activated fields through repeated, directional brushstrokes. The marks overlap, interrupt, and weave across the surface, creating layered opacity and rhythmic complexity. There is no focal point and no narrative centre; the entire plane carries equal weight. The brush remains visible as a tool — edges, pressure shifts, and directional changes form the structure of the work.

In photography, I apply the same logic. I treat the frame as a field rather than a stage. Movement, architecture, and objects become structural elements: a blurred figure interrupts the stability of a wall; a cluster of avocados behaves like marks distributed across a surface. Subjects are not depicted for their identity or story — they function as shapes, weights, tonal masses, and disruptions within the field.

Across mediums, my work emphasises material and environmental texture. Paint, brick, plaster, pavement, fruit — each contributes its own physical reality to the image. I construct surfaces by responding to these materials rather than imposing a concept upon them.

My practice is unified by process: opportunistic making, situational construction, field activation, structural interruption, and non‑narrative treatment of subjects. The work is defined by how it is formed — through accumulation, distribution, and the physical logic of the moment.

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ALL PRINTS AND PAINTINGS ARE MADE WITH ARCHIVAL MATERIALS AND FRAMED PROFESSIONALLY ​

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Jason Lloyd Mathieson​

UCOL School of Photography (2003), Palmerston North

Elam School of Fine Arts (2011–2014), Auckland

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