As part of our Artist Spotlight series, we visited Jason Litts’ studio for a glimpse into the ideas, symbols, and stories behind his work. Jason’s painting, Responding to a Thread, was selected for this year’s Clark County Open Studios marketing campaign and postcards, making it the perfect opportunity to learn more about the artist behind the image. During our visit, we talked about his creative process, the recurring symbolism in his paintings, what inspires his work, and what visitors can look forward to experiencing when they visit his studio this November.

If you were to step into Jason Litts’ studio on a Saturday morning, you might glimpse stunning finished pieces hanging along walls, Jason in front of a work in progress on his easel, and of course, his two adorable dogs Karhu and Otso, who’ve made themselves quite comfortable at his feet. We caught up with Jason to learn his surreal archetypes, what he’s looking forward to during Clark County Open Studios, and his painting Responding to a Thread, which was selected for this year’s marketing materials and postcards.

Your painting Responding to a Thread is featured in this year’s Open Studios marketing and postcards. What is the story or inspiration behind that piece?

I collect random thoughts throughout the day and file them away for later. When I’m in a relaxed state, I allow those thoughts to come back to the surface for contemplation. The Owl is a totem that I’ve used for several pieces. The bird is typically dynamic and interacting with an object that is open for interpretation. I chose the rope as the antagonist. The interpretation is open- a surreal tree, a deep rooted memory, an idea that demands a response.

How do recurring subconscious totems, like owls, crows, or the hard hat diver, make their way onto the canvas?

My favorite totem is the hard hat diver. He has nothing to do with diving at all. The construct of the antique suit is one that fascinates me. I inject him into aquatic and non-aquatic themes with the same purpose. The suit represents our attempts in life to insulate ourselves with distractions- those things that we believe keep us safe from emotional distress. The irony is that the suit is not particularly effective, and we end up isolating ourselves from genuine interactions. I’m an introvert, so what do I know? 

You’ve described your technique of layering oil glazes as a way to literally and conceptually conceal information within a painting. How do you decide what details to hide versus what to reveal, and what do you hope happens when a viewer finally discovers one of those hidden layers? 

I want to convey a visual narrative. If I believe that concealing data in the piece enhances that narrative, I’ll do it. I’ll also do this with images. Not as a gimmick, but as an attempt to tap into the subconscious. I’m delighted when someone discovers a double meaning or code that I painted. I want people to take a second look at my work and contemplate possible meanings.  

As someone who has returned to Open Studios, what keeps you coming back to this event, and how has opening your studio doors to the community helped you grow as an artist over the years?

I love that Open Studios exists for the community, as well as the artists. I enjoy seeing young artists come into my space and interact. I have a community painting that I encourage people to contribute to every year. That gets people to express themselves. This is an opportunity not just to observe art but to be a creative artist.  

Between your studio practice and your involvement with a local theater group, you’re deeply engaged in the arts. How does being part of these creative circles shape your perspective and feed back into your work as a painter?

My work in improv and theater is collaborative. You share the stage with amazing performers to create magic in front of an audience. It’s all about the “Yes and…”. There is a collaboration between myself as the artist and the piece I’m working on. The painting gives me feedback on what is missing and how the narrative has to evolve from sketch to completed piece. It’s my task to listen to it as I would a scene partner. Both forms have an audience that is vital for the complete experience.  

Preparing a studio to welcome the public takes a lot of behind-the-scenes work. As you get your space ready, what are you most looking forward to sharing with visitors when they step into your studio during Open Studios?

I’m excited for the new collaborative piece. People will create an underpainting with acrylic marker on the canvas. They can draw, compose poetry, jot down a phrase, or produce whatever inspires them. I’ll create a painting over the inspiration without (completely) destroying the content. I have a free raffle that will garner a lucky visitor a free painting.  

How have you seen support for the arts growing, and how does that energy flow back into your work as a painter?

This is an exciting time for Clark County. Artstra fosters awareness of opportunities through their community outreach. I’m excited to see younger and more diverse members continue the mission and build upon it. The Vancouver Arts Hub Building is a great example of community engagement. I have attended improv rehearsals and been immersed in a cacophony of dancers, improvisors, artists, actors, and LARPers using the space on the same night. It is alive! That kind of creativity inspires me to use common and uncommon landmarks in Vancouver to create images that are open for interpretation and (hopefully) resonate with the viewer. I’m a part of this community and want to represent it… even if it’s through my own surreal lens. 

–Photo and Interview by Mark Keraly