I’m from Wayne City, IL and I’ve lived in Los Angeles since 1997.
What’s your favorite part of living in LA?
It’s diverse in every way: the people, the food, the neighborhoods, the culture. There’s hiking right in the middle of the city and then, of course, the ocean. There’s a quality of life here that’s difficult to find in a city.
What necessities do you require when making your art?
I listen to Dax Shepard’s Armchair Expert podcast. For music, anything indie: Toro Y Moi, Brazilian Girls, Little Dragon.
Are there any aspects of your process that are left to chance?
Everything I do is very deliberate. There’s not really any chance involved.
What is the most difficult part of the artistic process for you?
It’s most difficult to for me to be objective about the final product.
Are there any strategies you’ve adapted to be more objective when looking at your finished work?
Nothing that’s worked, but I’m open to suggestions.
Do you admire or draw inspiration from any of your peers who are also working now?
Yes, I have a little pool of artists friends. I’m currently working on art for the Proper Hotel in downtown LA that Kelly Wearstler is designing and quite enjoyed collaborating with Kelly’s team on a few of the details.
What themes or motifs are you consistently drawn to?
Geometric shapes are central to my work. My triptychs also reflect different aspects of myself - I’m very neat and I like order, and so you see these razor-sharp, hard-edged lines and while they’re quite clean and also simple, there’s a boldness to them as well.
When did you begin your current practice?
I’ve been focused on the geometric triptychs for almost two years now.
Why do you think the triptych has become your preferred format?
I was drawn to the multi-panel approach initially because it allows me to take simple shapes and create something more dynamic. The correlation from panel to panel allows simple shapes to unite, resulting in something much more dynamic and eye-catching.
Your works have a repeated vocabulary or cadence of compositions - where did these come from?
It starts with lines of things I see in everyday life - in architecture, on billboards, the way power lines cross, literally anything - will jump out at me and I’ll sketch it or take a photo and work it into a larger composition later that may or may not become a part of my work, but that’s the process.
The correlation from panel to panel allows simple shapes to unite, resulting in something much more dynamic and eye-catching.
— Jason Trotter