News Press

For me the essence of art is the exploration of fundamental issues of our time. The meaning of life and the human condition are themes of interest. This is the larger conversation; the wider dialog that I want to be part of and so I explore intolerance, discrimination, addiction and violence with its victims, witnesses and survivors.

My large portraits start with an ambiguous expression, shared gaze and uncertain context calculated to provoke you into creating the narrative. I use a limited pallet of acrylic paint along with metallic and iridescent colors that produce changing patterns with changes in lighting and view angle.

Working freely, I drip, brush, pour, scrub and scape paint while applying a variety of lines, dots and other adjustments. I often paint multi-views or facial features slightly out of alignment. I frequently paint vaguely different expressions for each side of the face. These variations might make my images appear more real as time, half remembered memories, and prior experiences affect your perception.


I am dedicated to exploring visual elements that challenge traditions in painting. In my work, I focus on the process and interaction of layers that become meaningful and rich upon further examination. My philosophy is to be sentient through my raw figurative interpretations that make for a visual confrontation. I find tension to be the most meaningful facet of my artistic and aesthetic investigations. A context in which I am challenged to make the union of these ingredients appears intuitive. My work is driven to represent the elements of nature that surround us, creating a language that has universality. For me, beauty is stretched between elements that offer stimulating contradiction. Turning historical figurative references into a contemporary dialogue of social (and sometimes political) engagements. My process of making art is the conscious struggle between a purely personal expression and by the subjects that are universal to us all. Whether figurative or completely non-representational, this is the inspiration and backdrop of my work that I’m most interested in exploring.


Known for his monumental figurative paintings, Jason Lee Gimbel renders full figure works through abstraction-expressionist brushwork and non-naturalistic colors. His instinctual approach, random use of color and mark making pushes figurative work to the edges of representation and, in some instances, into abstraction. These painted drawings breaking up the surface through a visual harmony that disrupts the partially outlining figures. Providing the viewer with a complex balance between the merger of the figure and background.

In addition to painting, Gimbel creates classically informed drawings. Often depicting the human figure with the skin removed to display the musculature. These écorché drawings borrow from Greek mythology, classical sculpture and traditional figure drawing. He incorporates visual metaphors that explore the ephemeral qualities of the yellowing and degrading newsprint on which they are drawn. There is a playful juxtaposition of these large scale drawings with larger than life size staples, magnets and thumb tacks. An optical perception is often associated with Alice in Wonderland Syndrome.





Check out this great write-up about our exhibition Nature’s line in Westword!


Nature’s Line, the lyrical group show now at Space Gallery, is a worthy followup to the impressive Pattern, which was presented there earlier this summer. In Pattern, the theme was repeated imagery, as the title suggests. This time, the subject is the organic line, which is also conveyed in the title.

Both shows were organized by gallery director Michael Burnett, who brought together abstract artists — mostly painters — from inside and outside Colorado. And it’s important to point out that the artists in the current show aren’t abstracting flowers, plants or animals. Rather, they are using free-flowing lines and rounded shapes, which hint at natural things but do not ape them. Each artist has been given a separate section, so that each has a sort of mini-solo within the group.”


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Check out this great write-up about our art work in Westword!

Space Gallery owner Michael Burnett believes that the impressive Pattern: Geometric / Organic, now on display at the gallery, is his best effort yet. I have to say, though, that I’ve been checking out exhibits at Space for years, and there have been many solid shows presented there. It’s true that Pattern is more ambitious than most; there’s even a handsome catalogue that accompanies it — and that’s something that almost never happens with a show at a commercial gallery like this one.”

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Check out this great write-up about our new exhibition in Westword!


“It used to be that the art world in Denver took a breather in August, to mark the close of one season and allow galleries to gear up for the next one, which started after Labor Day — but that’s clearly not the case anymore. This month has seen a raft of great shows that have opened just as the schedule was supposed to be winding down. This week, I caught up with a quartet of exhibits that are linked by a shared interest among the participating artists in conveying forms and colors with minimal narrative or conceptual content.”


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From Pre-fab to Fabulous


 Space Gallery Grand Opening


Check out this great write-up about our new Space in Westword!

Though Denver’s art world can trace its roots back to the late nineteenth century — the Denver Art Museum, for example, was founded in 1893 — it has only reached critical mass since the dawn of the 21st. The most obvious evidence of this was the construction of the DAM’s Hamilton Building and of MCA Denver’s new home in the mid-2000s; both were momentous events that raised the city’s art profile nationally and internationally.”

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Westword’s ‘Best of’ Award

…and Westword’s ‘Best of’ award for Best Gallery Group Show goes to ‘The Other Primary Colors – White Black Grey’ which was featured at Space Gallery 09.07.12 – 10.20.12. A special thanks to Marks Aardsma for her vision! If you missed the exhibit you can see images of the work by clicking on the photos link above and finding the folder marked with the show title.

Marks Aardsma’s next curatorial endeavor ‘Lines and Grids’ will open this fall on 08.16.13 and run through 09.28.13 at the Space Gallery. Mark your calendars because this will be another one not to miss.