This is the website of Jason R Oppliger. Which is to prove to you, the googler that I do indeed exist.
I make films, paintings, installation pieces, coffee, photographs, write essays, etc. You know, "art."
My films have played at various festivals including: SXSW, Vail
Film Festival, and The Thin Line Documentary Film Festival.
This is a website, it is not art.
If you'd like to see some of my work, email me: firstname.lastname@example.org
What follows is an artist statement. The attitudes and thoughts generated in the following statements do not necessarily reflect the opinions of individual artworks; they would probably beat me up if they ever found out about it.
There is a deep mystery and wonder
in the chaos of dirt and grit, in organic structures with their living and breathing. Hearts pumping. In my work I attempt to embrace that sense of the organic and tactile, to allow for the physical feel of humanness to emerge in the mechanical and digital process of filmmaking and digital artworks while also exploring the interior of those processes.
My work typically has a sense of observation inside of it, of capturing through the medium itself. Frames within frames, filming screens, feeling the face of the image, exposing the textural presence of the screen, seeking largely to investigate the role of filmmaker
and viewer from inside the grammar
I'm extraordinarily drawn to visual texture, both filmic and literal.
In found footage where the expression of the image lies in dismantling the core of the original and conjuring a new collaged identity through pixels, movement, and color. Physically,
I have a deep affinity for the cultural detritus of our visually disintegrating urban imprints and
the massive cyclicality of their subsequent resurfacing.
By also experimenting in newly archaic technology and media archeology, my work in this area disassociates itself with image captured primarily for its traditionally aesthetic value and engages instead in exploring the primacy of image. The texture then can contain a wonderful plasticity
to it that seems at once both antique and modern, existing on a plane of recent memory without exact context and spoken in a sort of colloquialism.
But that's all very obtuse. The
point is that I think pushing the language of cinema is important.
At the most reductive level my work strives to reassert the bounty of visual treasure in the everyday and to stretch the language by which we communicate image through embracing
a messy, viscous, human vernacular
Alive organisms, tactile and slimy, hold such a great degree of complexity and curiosity. My work strives to operate in a way that breathes and has blood. Like we do.