YoYo series
I have been developing the yo-yo series for the last 6 years. They were fun simple forms that gave me a canvas to play with. Over time my understanding of the forms' meaning has been clarified. They became objects expressing feelings of wholeness, harmony, duality, fun, and relationship. They have become more than just the relationship of yo-yos to childhood memories or ruminations of the concept of play that I initially imagined. They have become forms of contemplation of the past, present, and future.


VOLPE SERIES

“I made one golden egg with a fox inside of it. When my parents split up and my mom left, my gram lived right next door to my father. My gram was a phenomenal woman. She really raised me; she instilled in me a sense of self worth, taught me that I mattered. Her maiden name was Volpé. Her family hated my grandfather because he took her away from her home in Italy and then all the way to Seattle. There’s a road called “Christian Road” on Whidbey Island- that’s named after her.  I own that egg; I love that piece. I’m not going to sell that one.”

COLLABORATIONS

Collaboration with artist Daniel Friday, a good friend of mine, has led to the creation of new work that fuses our individual aesthetics. 

About Jason
“I have the same passion for glass now that I had the first time I stepped in front of a glory hole—probably even more. I have endless curiosity for this medium that drives me crazy. It is what it is: It’s glass, it breaks. It’s molten, it moves. I love it. That’s what keeps me going. The common thread to my work is the technicality of it—pushing the limits. I like a challenge. I want to see the thing I set out to make and say, ‘Wow, I’m OK with this.’ But never will I be totally satisfied.”

jason Christian grew up in Coupeville, a small town situated on Whidbey Island in the heart of the Puget Sound region of western Washington State. Jason’s mother was a nurse; his father, a metal fabricator. As an adolescent he thought that he too would find a place in the blue-collar world. He worked construction and odd jobs. He drove delivery trucks. However, there was something inside driving him towards a more creative vocation. His mother told him, “You should really go check out this glass studio downtown. I read about it in a magazine.” He went and saw a master glassblower turn a molten blob into a flower and was hooked. This was
during the late 1990s and the Northwest glass scene was in full swing. Dale Chihuly was hanging chandeliers in Venice. Italian masters were moving to Seattle. There was plentiful work to be had, along with the strong sense of community that Jason had always wanted. He dove in, and there he flourished.