Born in 1974 in Melbourne Australia, Jason Haufe has been committed to his art practice focussing on abstraction, for twenty years. Since graduating with his Honors Degree in Fine Art at Monash University in 1995, Haufe has delivered over twenty solo exhibitions and has explored abstraction through painting, collages, sculpture and printmaking.
Haufe is an accomplished draughtsman and has been selected for important art prizes, including the prestigious National Drawing Dobell Prize at NSW Art Gallery (Sydney, Australia) in 2009, 2008 and 2005. He has also been shortlisted for the Rick Amor Drawing Prize at The Ballarat Regional Art Gallery. His work has gained considerable critical attention, most notably by Christopher Heathcote with the essay 'Journeys into Drawing', published in Contemporary Australian Drawing.
Haufe exploration of spatial and pictoral ideas within the limited means of abstraction was lauded by Sydney Morning Herald art critic Michael Fitzgerald, writing that "there is a satisfyingly cerebral play between soft and hard shapes in these abstract works by the Melbourne-based Jason Haufe, who is inspired as much by Howard Arkley as Piet Mondrian in his elegant interlocking grids of tense, spray-painted colour.”
Haufe's recent work, exhibited in PROJECT 2017, explores the process of feedback loops to generate new directions in his collages. These are created by using a combination of digital, mechanical and analogue process, transforming seemingly mundane materials into new pictorial inventions.
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"The work for PROJECT 2017 are abstract collages made from photocopies. All the pieces of paper that are used in these collages are either photocopied from the source material directly, or manipulated digitally on a computer and then printed and photocopied.
Much of the source material comes from patterns on the back of pay slips or from the inside of envelopes, photocopied on different scales and then distorted beyond recognition, transforming mundane visual information into forms for pictorial exploration. I also scan and photocopy completed work, producing not just copies, but a variety of new material for future work. Every time a work is produced, it adds to the sum of material that can be fed back into the process. The methods I employ allows for the possibility of repetition, changes in scale, inversion and distortions, adding to the complexity of forms and possible directions in which I can take the work.
Through this simple feedback process, change becomes an inevitable part of the works development, disrupting the stylistic refinement exemplified by the modernist signature image.
The forms within each work are constantly shifting, not just in directions but in tempo, so that the viewer's eye is forced to move at different speeds along the undulating form. Often an irregular form will be repeated many times in different works, getting lost amidst a multiplicity of forms and attaining a new character. The iconic structure presented appears to be in a state of flux between one form and another.
I use a combination of digital, machine and handmade processes that ensures that discovery is a prerequisite of pictorial invention. The best results being when there is an acceptance of uncertainty, embracing change and transformation as necessities for the enrichment of abstraction."