Used Welding Glove Prison (2)
Used Welding Glove Prison (2)
Used Welding Glove Prison (2)

Jason Gringler

Used Welding Glove Prison (2), 202216 x 71cmSign in to view price
Details
MaterialGallery
gloves, steelLo Brutto Stahl
Description
Human-crafted. AI-refined.

The artwork features a long, dark gray, rectangular object with a series of protrusions and indentations along its surface. The overall composition has a minimalist and industrial aesthetic, with the object's sculptural form and matte finish creating a sense of simplicity and solidity. The subject matter appears to be an abstract representation, potentially referencing industrial machinery or architectural elements. The artist has employed a distinctive technique of manipulating and shaping the material, likely metal or a similar dense material, to achieve this visually striking and conceptual piece. The context suggests this work may be part of a larger exploration of form, materiality, and the intersection of art and industry. ...

Similar Artworks
Three Tables I (Individuals)
Christine Sun Kim
Three Tables I (Individuals), 2020
147.96 x 147.96cm
Playground Structure (Triangulation)
Przemek Pyszczek
Playground Structure (Triangulation), 2021
90 x 125 x 105cm
Playground Structure (Chaos)
Przemek Pyszczek
Playground Structure (Chaos), 2021
62 x 45 x 115cm
Small Echo
untitled (chainsplitter)
Chris Dorland
untitled (chainsplitter), 2021
Why My Hearing Parents Sign
Christine Sun Kim
Why My Hearing Parents Sign, 2019
125.1 x 125.1cm
Untitled (data haven)
Chris Dorland
Untitled (data haven), 2021
172.7 x 304.8cm
Facade E
Bigwick
Jesse Darling
Bigwick, 2024
31 x 15.5 x 8cm
Main Stream Interference
Christine Sun Kim
Main Stream Interference, 2024
42 x 42cm
Lagos still life II
Wolfgang Tillmans
Lagos still life II, 2022
30.5 x 40.6cm
Facade A
Karl's Castle (2)
Liz Magor
Karl's Castle (2), 2003
51 x 40.5cm
Untitled (background host)
Chris Dorland
Untitled (background host), 2024
213.4 x 182.9cm
Muffled Club Music
Christine Sun Kim
Muffled Club Music, 2016
50.16 x 64.77cm
Early Spring Flower-Paws Stretching Soul Sheet – Mesmerizing Mesh #206
Haegue Yang
Early Spring Flower-Paws Stretching Soul Sheet – Mesmerizing Mesh #206, 2023
92 x 62 x 3.5cm
Havers
Paul Kajander
Havers, 2022
15.2 x 63.5 x 48.3cm
Phone User 4
Judith Hopf
Phone User 4, 2021
173 x 44 x 58cm
Still life #11
Juliette Blightman
Still life #11, 2016
290 x 290cm
Jason Gringler
Artist
Jason Gringler
B.1978, Canadian

Jason Gringler was born in Toronto, Canada and spent a decade living and working in New York. He relocated to Berlin in September 2017. His work has been included in recent exhibi- tions at König Galerie (Berlin) Steve Turner (Los Angeles), Brand New Gallery (Milan), Pa- risian Laundry (Montreal), Galerie Stefan Röpke (Cologne) and Ashes/Ashes (New York). “The resin sculptures are excavated workshop relics; meandering archeological objects intrinsically tied to my artistic practice yet overlooked as the main protagonists driving my recent body of work. The term sweat equity is an ingredient recently added to my studio’s vocabulary. Sweat equity refers to a person’s contribution toward a business venture or other project. Sweat equity is generally not monetary and, in most cases, comes in the form of physical labor, mental effort, and time. The broken tools, used sneakers, and sweat-soaked work-shirts embalmed in epoxy are a conscious effort to reinvest labor (and material) back into my studio practice and essen- tially back into myself as a person. I have come to realize over the years an unintentional theme has emerged from my efforts as an artist: At times, the detritus surrounding my art production excites my brain more than the intended outcome. I use waste as a drunken stimulus, a trigger and diving board. It’s a method to distract myself enough to allow for errors and self-discovery. This applies to all bodies of work, from the wall-based glass ‘paintings’, through the eBay sculptures, the ‘tools’ (that appear as weapons) and the most recent body of epoxy resin sculptures embalming the used, wasted, and leftover material from my workshop. My work is not political however I have always considered the act of being an artist politi- cal within a society I feel leaves little room for an artist’s position. I purchase materials, I produce what I consider to be artworks from those materials. Waste is produced in tandem. I use the waste to reinvest into my studio practice simultaneously generating valuable ideas as well as the potential for commercially viable products. The cycle does not end here, it merely begins again until at some point my body is ex- tinguished from illness, age, or accident, or I choose to become someone that no longer identifies as an artist.” Jason Gringler ...

Jason Gringler: Artworks
Glass Plywood Gradient (7)
Jason Gringler
Glass Plywood Gradient (7), 2020
57 x 77.5cm
Steel/Glass (43)
Jason Gringler
Steel/Glass (43), 2020
57 x 77.5cm
Tool (2) (Asics)
Jason Gringler
Tool (2) (Asics), 2022
28 x 24.5 x 11.5cm
Used Welding Glove Prison (2)
Jason Gringler
Used Welding Glove Prison (2), 2022
16 x 71cm
Photo Journal (11)
Jason Gringler
Photo Journal (11), 2023
111 x 110 x 7cm
Tomb
Jason Gringler
Tomb, 2024
119.5 x 82 x 9cm
Photo (19)
Jason Gringler
Photo (19), 2024
30.5 x 21.5cm
Photo (16)
Jason Gringler
Photo (16), 2024
30.5 x 21.5cm
Steel/Glass (52)
Jason Gringler
Steel/Glass (52), 2023
96.5 x 84 x 7.5cm
Untitled (eBay sculpture)
Jason Gringler
Untitled (eBay sculpture), 2023
70 x 53 x 16.5cm
Photo Journal (10)
Jason Gringler
Photo Journal (10), 2023
110 x 104.5 x 6cm
Untitled (eBay sculpture)
Jason Gringler
Untitled (eBay sculpture), 2024
38 x 30 x 9cm
Untitled (Sweat Equity)
Jason Gringler
Untitled (Sweat Equity), 2024
7 x 84 x 206cm
Home/work
Jason Gringler
Home/work, 2024
20 x 56.5 x 56.5cm
Lo Brutto Stahl
Gallery
Lo Brutto Stahl
Paris

Unlock Price & Inquiry Access