Jason Matias – Lanscape Photography

Jason Matias is an artist, photographer, and artrepreneur. His photography is focused on two narrow veins of creativity: ‘Comfortable Isolation’ (landscapes) and the ‘Aria Collection’ (nude portraits). He’s from New York City and spent six years in the USAF, together, those influences have cultivated a hustle and an assertiveness that has enabled him to find success in fine art. He shares that success on his platform, The Art of Selling Art.

 

Awards & Recognition

 

  • 2013 Hawaii Photographer of the Year
  • 2013 Every Hero of Humanity by the Everyday Hero Project
  • Published 3 times in National Geographic 2014, 2015
  • Finalist in Nat Geo Traveler Contest 2015
  • Finalist in Weather Channel’s Its Amazing Out There 2015, 2016
  • Named Top 100 Night Sky Photographers by Space.com 2014, 2015
  • Named Top Artists To Watch For 2015 by Art Business News

 

In many ways, capturing a landscape photograph means capturing the color and tonality provided by nature. With your colors chosen for you and your composition arranged, there is little room for me to call a photograph art or to say that a landscape tells a story of some kind. Especially when considered alone. In my opinion, there are really awesome landscape photographs, but to claim they tell a story on their own is a stretch of the imagination. A tone can be set, but a narrative is not developed from a single landscape photograph. It is developed by a body of work. As a collection, however, a theme can emerge, and a story can be told. I have a particular vision that I look for when I compose a photograph. I call it “comfortable isolation”. These are scenes of meditative spaces where one can sit and recharge themselves. These are also places where a person might arrive when they are seeking a safe space to engage their thoughts in the type of dialog that allows for personal growth and maturation. I use composition and color to accomplish these expansive spaces in two dimensions. Here are the elements of each photograph:

 

 

In “Safe at Harbor,” above and like all the photographs in this collection, I want to create spaces that feel larger than the five or six feet they occupy on a wall. The color contrast is obvious, but the color harmony on the starboard side of the schooner marries the two sides of the image while creating an empty space between them that encourages the audience’s eyes to traverse landscape.

 

 

In “At the Edge of Dusk,” the same color harmony makes the viewer’s eye travel from the boat to the horizon and back.

 

 

In “Adrift”, I use this color harmony more subtly, instead, opting for a stark warm-cold contrast to isolate the dock and expand the space surrounding it.

 

 

In “Edge of Solace,” I expand on the idea further by using a simple vanishing point to divide the upper and lower halves of the photograph. I add white-ish highlights on the dock that match the clouds in the sky to marry the two together.

 

 

Above is a behind the scenes look at the different pieces that are a part of “Edge of Solace.”

 

Being a composite, “Edge of Solace” was particularly challenging because the entire image could be any color I wanted it to be. Originally, I leaned toward a green tinted image. However, I applied the editing process I use on all images. First, I aimed for realism. I matched the scene most closely to the colors from the original dock. Once the image looked “real,” I started to play with the colors as a unit. I chose a muted blue-yellow-white pallet for the way the blues lend themselves to more soothing expressions and for how the yellow harmonized that blue.

 

These photographs alone don’t make the same impact as they do when considered, as a body of work. They each have a “feeling” but as a collection, ‘Comfortable Isolation’ offers itself as a statement about the artist and the vision they pursue. Finding your voice and the message you want to express is key to creating a unique presence in fine art. Light, composition, and color are the major elements of any piece of art and each should be considered for both their presence in a single piece, as well as their presence in a body of work.