Jason Williams: Untrained, uncompromising and experimental in his approaches to decorated time (sound) and frozen time (art) with a non-careerist attitude for over thirty years. Being central to the noise explosion of the early nineties. His superannuated project Deepkiss720 was summed up in IDWAL FISHER ‘zine…”Jase’s contribution to the UK noise scene may be small when looked at in terms of released output (tapes, cdrs and one vinyl LP) but that is no reflection on his influence and input. Those few releases would suggest the mind of a man for whom side long tranches of noise aren’t the excuse for periods of reflection but a chance to wreak havoc with your ears. With his long running solo project Deepkiss720 Jase has managed to create a monster that makes noise that is genuinely unlistenable and I mean that in the most respectful of ways. Its not everybody who can put something into the noise trough that is so totally off center as to be totally off whatever scale it is you want to measure it by.” His cut up music became more like art and he collaborated on collages and one oil painting with the contemporary German artist Albert Oehlen for the “I will always champion bad painting” exhibition. However, one of the results also ended up in the “I Will Always Champion a good painting” show at the Whitechapel Gallery and Galerie Max Hetzler. He Co wrote the article ‘Dipsomaniac theory and cancer chew’ for Bananafish magazine, the influential San Francisco fringe arts magazine. And was taken on as ‘Silver-head’ by godfather of graffiti Jeff Keen whose rapid-fire animations, multiple screen projections and raucous performances redefined uk multimedia art. His detour into the more hidden “art” world lead him into years of research / films and xerox mail art etc with the OKOK Society and somehow a gig for 7 disaffected teenagers in Bulgaria. He bought Foxtrot Echo of COUM Transmissions back into the live arena for some collaborative performances well before the recent retrospective and currently plays with the COUM Flakes and Aeolipile jazz trio. He has always been fairly altruistic in his outlook until he could no longer afford to be part of the “No Audience Underground” helping out on the local events like ASYLUM (club night) the Muddy Clearing with the Binnie Sisters and ‘The Happening’ for two years on the Eastbourne festival fringe. The Observer building, Hastings has given him useful experience locally and he now part of the team at the Devonshire Collective. He has run an anti-art and broken music workshops for Supernormal Festival and Coastal Currents festival at the the Old Chemists St Leonards, a mechanical drawing workshop and joined Radiator Arts for the Snowline, Stade Hall project. Jason thinks of himself more as a catalyst in any workshop than a facilitator as he can never remain “neutral”. His current practice involves constantly reworking the same pieces, destroying / rebuilding and having finally seen off his desires to perform with the bloodletting no wave band Mothers of the Third Reich and live art displacement experiment Hysteresis. He now spends most of his time working on the Name & Shame and Black Metal High Impact Aerobics projects with Rebecca Snotflower and ongoing struggles with space / mediums / tech and the very idea of being an Artist. Amusingly recently described by Jeffrey Louis-reed as “a one-man avant-garde steamroller”.
Jason has shown or performed at
The Kave Gallery.
Sallis Benney Theatre.
Galerie Max Hetzler.
Dusseldorf Kunst Academe.
Lucy Bell Fine Art.
among many others.
email : firstname.lastname@example.org