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A LABOR Of Love Written By KONRAD MARSHALL About Jason Wright

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A LABOR Of Love Written By KONRAD MARSHALL About Jason Wright

September 29th, 2015 - Orange Park, FL

A LABOR OF LOVE

Jason Wright organizes fellow artists for show and makes name for himself, too

KONRAD MARSHALL

The artist, Jason Wright shifts awkwardly in his seat, while the photographer snaps away.

He deflects conversation from himself, offering the photog two-hundred bucks for his $5,000 Nikon D2X.

He offers this reporter a cold "brr."

He asks his pregnant partner, Erica Pogue, how much sleep he got last night.

Anything to avoid the here and now - to aim that flash bulb of attention some place else. Wright has been a painter for almost a decade, but the 33-year-old Northside native is not fond of talking about his work or his personal style.

"I'm really bad at labels, and talkin' about stuff, and conversations, like now," Wright said. "I'm good at sittin' here in this chair, drinkin' a beer and bein' uncomfortable."

Fair enough. He's a visual communicator, not a written articulator. And at this moment, Wright will also do anything to assuage the insecurity that comes with holding a solo exhibition. He asks Tony Allegretti, owner of the Burrito Gallery (where his work is on display upstairs), if anyone on the December Art Walk will even know how to find this loft space.

"They'll come, man," Allegretti soothes. "They're coming."

Wright can't wait. Because when the crowd does come, he'll be able to blend in, even while standing out.

Safety in numbers. Solidarity through a swarm. It could be the defining theme for Wright in 2007.

LABOR-ing away

On this December night, he has a solo show. But for the bulk of the year, Wright was known more as the founder of LABOR - Local Artistic Barflies of Riverside - a loose collective of artists joined by a love for MySpace and carousing at Five Points watering holes. In fact, Wright and his collaborator Martin Moore (along with Pogue, and Jonathan Plant) came up with the idea over PBRs at Starlite Cafe.

The intention of the group is to give emerging artists an opportunity to come together, discuss art, show art and maybe sell a little work along the way.

"That's basically what it's about," Wright said. "Anyone can join. There are no rules or criteria."

Wright designed a logo featuring the immortal mug of Bob Ross, began soliciting interest from local artists, and before long had organized a show featuring a dozen artists, coinciding with the grand opening of Bogda, a gallery on McDuff Avenue South. More than 300 people showed up, and the crowds have been similar for the two LABOR shows held since. Another opening is planned for early January.

"It's that open mike night effect," Wright said. "Twenty guys might come along, bringin' 20 guitars, but they also bring more than a few friends each. Before you know it, you've got yourself a crowd."

Standing out in a crowd

Wright is in no danger of being lost in that crowd, either. First, there's his personal style, personified by big black boots, rolled-up blue jeans, a tight T-shirt (more often than not with a pack of cigarettes in the sleeve) and, of course, the slicked-back black hair. Add the accent and the rings (a skull and an eagle) and the "TCB" (Taking Care of Business) tattoo, and you have a blend of Elvis, James Dean and Chris Isaak.

The images he creates have a similar personality. Always illustrative. Almost cartoonish. Whether featuring a posse of pop art faces or a caricature of himself with udders or the ever-present "tattoo girl" motif, Wright's work seems born of a collision between Andy Warhol, Japanimation and the wild, wild West.

Allegretti, who actually bought the first piece Wright ever sold, almost five years ago, said his work makes people smile, and always stands out from the group.

"I think his character pieces draw folks in and are universal," he said. "There are really great examples of contemporary Jacksonville, and Jason is one of the best executed, accessible and creative artists we have."

Wright would - especially with a child on the way - like to be a full-time artist. In 2007, he made a serious bid.

"Before that, I'd sorta float by, see what happened," he said. "Eat at Mossfire one week. Ramen noodles the next."

In a way, LABOR is Wright's way of doing something about that uncertainty - of sheltering from the storm any working artist must weather.

konrad.marshall@jacksonville.com,

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