Art / 03 Dec 2018

Story | The Cob Gallery – Jason Shulman

Jason Shulman lives and works in London. His work is frequently occupied with themes of analgesia, loss and the delusiveness of perception.

Utilising optics and other simple scientific methods, he brings an atmosphere of experimentation to his absorbing photographic prints, pen-and-ink and mixed-media works, exposing the falsehoods that underpin our everyday experience of the physical world.
Jason Shulman, 2016, Fantasia (1940)
Jason Shulman, 2016, Fantasia (1940)

Shulman's 'Photographs of Films' - a series of photographs which record the entire duration of a film in a single exposure - were debuted by Cob Gallery in 2016, and he has exhibited at institutions including White Cube and at the Moscow Biennale.

" There are roughly 130,000 frames in a 90 minute film and every frame of each film is recorded in these photographs. You could take all these frames and shuffle them like a deck of cards, and no matter the shuffle, you would end up with the same image I have arrived at. "
--------------Jason Shulman
Jason Shulman, 2017, Alice in Wonderland (1951)
Jason Shulman, 2017, Alice in Wonderland (1951)
The photographs capture something the human eye can't ordinarily see. The results vary from luminous colour field abstractions to visual précis that are both a blur and a reveal. The photographs of Hitchcock films show ghostly figures emerging from an abstract background.
Jason Shulman, 2016, Sleeping Beauty (1959)
Jason Shulman, 2016, Sleeping Beauty (1959)

The films range from cinema classics such as Citizen Kane; The Wizard of Oz, Deep Throat and 2001: A Space Odyssey, to more niche movies such as Digby The Biggest Dog in the World.

Jason Shulman , 2017, BLUE VELVET (1986)
Jason Shulman , 2017, BLUE VELVET (1986)

Utilising optics and other simple scientific methods, he brings an atmosphere of experimentation to his absorbing photographic prints, pen-and-ink and mixed-media works, exposing the falsehoods that underpin our everyday experience of the physical world.

" With Rear Window you can see Jimmy Stewart in his wheelchair against the fragmented lines of window frames. It could work as a poster for the film. 'The Kubricks, on the other hand, do not show human figures. They stand out for their formal composition, almost dividing the image into a triptych."
Jason Shulman, 2016, WIZARD OF OZ (1939)
Jason Shulman, 2016, WIZARD OF OZ (1939)
Jason Shulman , 2017, DR STRANGELOVE (1964)
Jason Shulman , 2017, DR STRANGELOVE (1964)