Artist’s Biography

 

With few shared images of his work, choppy interviews and a series of underground exhibitions, Jet Le Parti remains a ghost in the formal art world. The artist is notorious for refusing sales, collaborations, gallery representations and formal showings.
Despite the lack of institutional approval, Le Parti’s works have gained a strong following in the secondary market, establishing him as a highly sought-after artist and cementing his position as a red-chip artist.

Le Parti’s oeuvre is marked by a multidisciplinary approach, delving into various disciplines and conceptual fields. His works are characterized by their complexity, weaving together intricate layers of information and personal expression to create a cohesive visual narrative. This complexity is further reinforced by the artist’s meticulous attention to detail and his use of a wide range of referential material in his works.

Based in: Berlin, Germany / Brooklyn, New York

Unofficial biopic via Private Collecting (@art)

 

 

Interview

Artist: Jet Le Parti

By Carol Real

 

 What were the cultural references in your upbringing? Who was your​ ​greatest art Influence?

I grew up in a small military town in the American south. I did not have any strong cultural references, just general American television, books, sports, and the local​ ​museum we’d visit once a year for school trips. I lived most of my day-​ ​to-day life behind a television screen and a family computer. I’ve primarily​ ​experienced my relationship with the rest of culture and art through this.

After earning a degree in philosophy and physics at the University of​ ​Pennsylvania, how did you switch to the arts? How did it influence​ ​your process?

I actually only received a degree in Philosophy. I studied physics passively​ ​through alternative electives and independent learning. The connection between​ ​my academic background and my art practice was seamless, as art and​ ​philosophy are inherently symbiotic. Both disciplines are deeply engaged with​ ​representation​ ​philosophy represents the world through language and​ ​knowledge; and art portrays the world through visual depictions or other forms of​ ​expression. With this, exploring the creation of art while exploring different​ ​c​oncepts became a relatively natural process. I definitely had some challenges​ ​when I first began learning the​ ​rules of working with paint on canvas. However,​ ​fortunately, I had the Philadelphia Museum of Art’s collection to refer to regularly​ ​for help.

 

What artists do you identify with, and whom do you admire?

I don’t really identify with anyone. I admire many.

What is the purpose of art for you? What role does art play in our​ ​culture?

Art, for me, has always been about exploring, questioning, and interpreting the​ ​complexities of reality.

However, ar​t’​s function within culture has become relatively obsolete. The​ ​contemporary art world—replete with art fairs, festivities, and public relations​ ​campaigns​ ​coupled with the globalized shift towards an attention economy, has​ ​resulted in an art culture that is increasingly self-absorbed, commercially driven,​ ​oversaturated,​ ​and subsequently under the whims of artificial extrinsic factors. Under this structural layout, art and art objects have become indistinguishable​ ​from other consumer goods, resulting in their value no longer being derived from​ ​their​ ​intrinsic qualities and cultural significance but rather by the perceived sign​ ​value attached to them by the market and reinforced by surrounding media. This​ ​emphasis​ ​on mass appeal and the homogenization of voices in the art sphere​ ​has led to the loss of art​’​s critical and transformative potential, giving rise to the​ ​sterilization of aesthetics.

While it is not necessarily impossible for individuals to create powerful and​ ​meaningful work, underneath this current structure, the cultural significance of​ ​any and all​ ​works of art can be subsumed into a fashionable commercial​ ​narrative that diminishes the strength of its intended meaning and reduces it to a​ ​mere commodity.​ ​

Unless there is a fundamental shift in how artists approach their craft or a​ ​structural change in the methodology of the promotion of the arts, we risk​ ​remaining in a​ ​state of perpetual cultural stagnation, where the original power of​ ​art is lost.

It is likely possible that this has already occurred.

 

In your paintings, we can appreciate moments of spiritual reflection and​ ​physical dynamism. What​’​s your rationale for choosing a subject for your​ ​paintings?

When approaching my work, I follow a process I call ​”​localization​”.​ It​’​s a​ ​methodology I​’​ve developed for the introspection on the sort of aesthetic quality​ ​of a concept—the sort of phenomenal properties of what the motivating concept​ ​conveys or evokes. To gain an in-depth understanding of the direction I should​ ​take to explore​ ​and portray this motivating idea, I often piece together a series of​ ​sounds, images, literary texts, and designs that evoke the mental and emotional​ ​qualities of the concept(s) that I​’​m working through. I then develop a quasi-​​language around the concept—visually, sonically, and through written text.

The goal is to establish a multi-dimensionally informed understanding of the​ ​concept and to create a psychological referential system to loop and meditate on​ ​the different qualitative conditions surrounding it. For example, what the concept​ ​sounds like, what it looks like in various forms, what emotions it evokes, how it​ ​seems​ ​to operate functionally in the world, how it structurally relates to other​ ​ideas, and so on.

Next, I search through historical archives and media sources to find traces of the​ ​ideas I​’​m working with and how different cultures, thinkers, and artistic​ ​movements​ ​have explored them. This process helps me gain an anthropological​ ​perspective by scraping the intersecting fragments together and establishing a​ ​sense of a​ ​genealogy associated with the concept.

From here, I try to develop an artistic language to communicate the assemblage​ ​of the concepts from my perspective, typically mapping them out into a visual​ ​metaphor or portraying them in mixed-media scenes of text references and visual​ ​allusions. I process the outcome, note my shortcomings, revise as needed, and​ ​imagine where to go next with what I​’​ve learned.

It​’​s not a perfect model as it leans heavily onto intuition, but it does help piece​ ​together narrative direction and underlying depth into the work.

 

What fascinates you about creating large-scale pieces? How much do​ ​you rely on colors to narrate your story?

When I first began painting, it felt more natural to work on walls of canvases​ ​where I could mark the painting directly and work within a sense of total​ ​immersion​ ​through world-building the subject matter​’​s imagery into my scaled​ ​point of view. Now that I​’​ve become more familiar with painting, scale is a​ ​secondary tool that serves the source material. For me, color is instrumental in​ ​establishing tonality. I approach it similarly to sound, focusing on how it can​ ​convey mood, depth, and​ ​resonance—similar to how different notes combine to​ ​create scenic atmospheres. I also often consider color from a more analytical and​ ​scientific perspective, viewing​ ​it in terms of frequencies, photons, and waves of​ ​information and considering the interactions between light and the mind. This​ ​relationship of color, sound, and​ ​concept is evident throughout the larger body of​ ​my work, especially within my recent thesis, Melting Blues. Here, I explore the​ ​theoretical concept of sentient​ ​information passing through a gravitational​ ​blueshift as an abstract allegory of the end of an era, and a subsequent​ ​acceleration towards a near singularity in the​ ​future—technologically, culturally,​ ​and through the physical laws of the universe.

 

You have participated in a few shows, but all with overwhelming success.​ ​In which setting—gallery, museum, or institution—would prefer your​ ​art to be exhibited?

The perceived success is a bit convoluted. On the surface, it may seem that​ ​I​’​ve achieved some notable accomplishments through the progression of my​ ​exhibitions. However, the reality is that these milestones were only made​ ​possible through tireless efforts in independently organizing, curating,​ ​installing, promoting, and​ ​financing all of my exhibitions—all while also​ ​shouldering the responsibilities of being an artist with only a small inner circle​ ​of support. This process has entailed a​ ​strenuous investment in physical,​ ​emotional, and mental labor and yielded a short-lived celebratory environment​ ​for an audience often insulated from my internal​ ​struggles, which has made the​ ​experience often times more alienating than rewarding. There​’​s a lot of​ ​uncertainty concerning future exhibitions. As I mentioned, the contemporary art​ ​scene has transformed into a spectacle environment. With its emphasis on​ ​celebrity endorsement, identity entrepreneurship, pseudo-progressive​ ​fashionable trends, performative patronage, and self-indulgence that creates​ ​nothing short of a Disneyland ambiance, I cannot see myself operating​ ​authentically​ ​within this atmosphere.

With this in mind, if my work were to be exhibited publicly in the future, i​t’​d​ ​likely be best at an auction house, as at least there is a certain level of​ ​unforgiving transparency and bluntness to be found in that relationship.
Outside of this, I will continue to exhibit and engage with projects privately at​ ​Base 36.

 

In a few words: who is Jet Le Parti?

A work in progress.

Favorite quote.

Amor Fati.

 

 

 

Editor: Kristen Evangelista

Jet Le Parti IG

Photos courtesy of Base 36. Exhibition Archives. 2018-2020.