“Clark is adept at taking the theoretical concepts of modernism and minimalism and reapplying them to conditions that are not ideal. With a laboratory full of objects culled from thrift stores he sets about reconsidering modernist painting and minimalist sculpture. While Jared’s use of rescued objects may liken him to those artists classified as making found-art, it is his affinity for the flatness of painting that imbues his work with a sense of newness. Jared’s sense of surface and texture serves to pull these pieces together, flattening and overriding their natural objectness in favor a privileged plane, a new painted image.
Given the extent of Jared’s materials it is easy to first consider his work a series of unrelated arrangements, a sprawling mess of objects. Certainly his choice of materials, which for the moment includes: cutting boards, luggage, soap, craft paintings, ceramic figurines, map pins, painted rocks, and Styrofoam, are chosen for the express purpose of challenging his connections to painting as associated with abstraction and modernism. Often with minimal intervention Jared succeeds in addressing major considerations of abstract painting, especially mark making and color. However I find his engagement with format and the consideration of the artist’s hand his greatest concerns. How these objects find themselves arranged is strictly through Jared’s manipulation. Yet it is the prompt of their form, either through color, scale, or character, that informs Jared as to what he is to make of them, creating an odd relationship between artist and object, disguising who exactly manipulates who.”
Excerpt from a text written by Andrew Kozlowski, 2011 at Jared Clark’s website