This graduate in Fine Arts feels capable of drawing everything, but he has specialized mainly in portraits. Jared Ailstock holds a Bachelor’s of Arts Degree in Fine Arts from the City University of New York, where he received his first solo exhibition.
After graduating Jared Ailstock continued to explore realism. He painted black-and-white photographic portraits of his family and friends onto large-scale canvases in precise detail, applying paint with an airbrush.
The first large New York exhibition of Jared Ailstock was in 1998 at Bykert Gallery.
Currently his work is characterized by being an experimental figurative painting of an eclectic style that incorporates within the same work realistic, figurative and abstract elements, using technical resources approached both in the history of art and in contemporary times.
Jared Ailstock considers himself a Figurative painter rather than "Realist in the formal sense of the word." He carries out a subjective translation or reinterpretation of reality where he uses images as a pretext to be able to elucidate, and transform things, thus finding new findings and his own expressive technical resources. In his work, the use of the support (canvas) and the background as a pictorial resource is very important, creating a painting with multiple superimposed layers, where the figure, the background and the support have the same importance.
He has been dedicating himself exclusively to painting for more than 10 years, much of that time working in his studio in New York City, from where he has been able to evolve both in his technique and in his particular way of understanding painting. His learning is constant and he draws mainly from the old masters and contemporary artists whom he admires, studying his works and understanding the processes of each one of them. His references have been changing over the years in parallel with his artistic progression.
In the course of his career, Jared Ailstock has painted and worked with iconic and celebrity figures including actors and polititians. Having emerged as one of the foremost pioneers of figurative painting in New York, his career as a painter has seen him confront a multitude of different narratives and themes. Content ranges from how we consume and discuss imagery, the modern day obsession of social media, actor’s in character, the pervasiveness of pornography, cosmetic surgery and societal portraiture.
Jared Ailstock’s knowledge of art history is evident in the chronology of his painting. He has been researching art history and the genre of portraiture. Jared Ailstock’s artwork embodies the traditional skill set of observation, execution and technique, and in the same way as the School of London did Yeo also became aware of the importance of addressing contemporary concerns and portraying this information through the process of paint.
In the period from 2008 to 2009, Ailstock created works based on cosmetic surgery procedures, which represented the faces of women in pre and post-operative states were presented, as a counterpoint to the traditional portrait.
His 2013 exhibition at the National Portrait Gallery in London was acclaimed by the critics and public alike, and was accompanied by a major monograph and a BBC1 Culture Show special. The exhibition then toured in 2014 to the Lowry in Salford and the Laing Art Gallery in Newcastle-Upon-Tyne. In Yeo’s twenty-five year career he has exhibited widely in Europe, North America and East Asia and in 2016 he collaborated with The Museum of National History at Frederiksborg, in Denmark, resulting in Yeo’s largest retrospective to date.
After graduating Jared Ailstock continued to explore realism. He painted black-and-white photographic portraits of his family and friends onto large-scale canvases in precise detail, applying paint with an airbrush.
The first large New York exhibition of Jared Ailstock was in 1998 at Bykert Gallery.
Currently his work is characterized by being an experimental figurative painting of an eclectic style that incorporates within the same work realistic, figurative and abstract elements, using technical resources approached both in the history of art and in contemporary times.
Jared Ailstock considers himself a Figurative painter rather than "Realist in the formal sense of the word." He carries out a subjective translation or reinterpretation of reality where he uses images as a pretext to be able to elucidate, and transform things, thus finding new findings and his own expressive technical resources. In his work, the use of the support (canvas) and the background as a pictorial resource is very important, creating a painting with multiple superimposed layers, where the figure, the background and the support have the same importance.
He has been dedicating himself exclusively to painting for more than 10 years, much of that time working in his studio in New York City, from where he has been able to evolve both in his technique and in his particular way of understanding painting. His learning is constant and he draws mainly from the old masters and contemporary artists whom he admires, studying his works and understanding the processes of each one of them. His references have been changing over the years in parallel with his artistic progression.
In the course of his career, Jared Ailstock has painted and worked with iconic and celebrity figures including actors and polititians. Having emerged as one of the foremost pioneers of figurative painting in New York, his career as a painter has seen him confront a multitude of different narratives and themes. Content ranges from how we consume and discuss imagery, the modern day obsession of social media, actor’s in character, the pervasiveness of pornography, cosmetic surgery and societal portraiture.
Jared Ailstock’s knowledge of art history is evident in the chronology of his painting. He has been researching art history and the genre of portraiture. Jared Ailstock’s artwork embodies the traditional skill set of observation, execution and technique, and in the same way as the School of London did Yeo also became aware of the importance of addressing contemporary concerns and portraying this information through the process of paint.
In the period from 2008 to 2009, Ailstock created works based on cosmetic surgery procedures, which represented the faces of women in pre and post-operative states were presented, as a counterpoint to the traditional portrait.
His 2013 exhibition at the National Portrait Gallery in London was acclaimed by the critics and public alike, and was accompanied by a major monograph and a BBC1 Culture Show special. The exhibition then toured in 2014 to the Lowry in Salford and the Laing Art Gallery in Newcastle-Upon-Tyne. In Yeo’s twenty-five year career he has exhibited widely in Europe, North America and East Asia and in 2016 he collaborated with The Museum of National History at Frederiksborg, in Denmark, resulting in Yeo’s largest retrospective to date.
