Justin James Voiss
b. 1980, Portland, Oregon
Father. Rehabilitated Warmonger. Paintterror. Memory archiver.
A country’s collective residue and responsibility. Worlds bound together through packing tape, mark-making, acrylic, oils, saliva, fear, glue, war, charcoal, pastels, regret, and iodine. The objects and documents discarded by our consumption of goods, services, celebrations, and ourselves. The detritus our grandparents once cherished. Found on a canvas, a wall, living in a space under our feet, or like us; beneath the sky. Always surrounded by things we want to forget and avoid. Alternatively, things we desire to elevate; to a time, and place, where it all still tasted like a recollection of candy.
No Kitchen Sink, 2021. Whole damn studio, single car garage x single car garage. Photo: B.Okabe.
Flowers Are? Love Is? 2021. Oil pastel, charcoal, airplane sticker, tape, broken frame, broken mind, mending heart, saliva, acrylic, tears, joy, military equipment, wine, iodine, bracket on canvas; 108 x 72 in. Photo: Meghan Olson.
Flowers Are? Love Is? (detail), 2021. Photo: Meghan Olson.
installation view, 2022. Photo: Allison Minto.
installation view, 2022. Photo: Allison Minto
Ground Up, 2022. Spray paint, saliva, iodine, charcoal, acrylic, oil, oil pastel, pressure, staples, graphite, water, graphite, studio residue, canvas on drywall; 63 x 41 in. Photo: Allison Minto.
installation view, 2022. Photo: Allison Minto.
Old Ways New Balance, 2022. Charcoal, iodine, saliva, acrylic, oil pastel, on canvas; 72 x 108 in. Photo: Allison Minto.
Bottle Me Up, 2009 - 2022. Iodine, saliva, charcoal, acrylic, canvas, paper, on drywall; 44 x 57 in. Photo: Allison Minto.
Justin James Voiss, Kristoffer Mc Kafee, installation view, System In Progress, 2001-2022. Plastic, medical records, blood, notebook, polyester, sweat, metal, wood pallet, tears, illustration board, acrylic resin diamonds, adhesive, tape, security, cardboard, cotton, paper, latex paint on concrete; 48 x 40 x 56 in. Photo: Allison Minto.