Jason Limberg is a draftman who lives in the beautiful woods near Marquette Michigan. He loves creating, spending time with his wife, drinking coffee, conversing with the night, and engulfing himself in the stunning landscape.
His work speaks of all these passions and has been shown nationally, and this coming October internationally in Japan.
Jason’s favorite place is in the confines of his studio exploring the deep reaches of his imagination. These images come out as animals, flowers, human forms, moon, etc. Using ballpoint pen to render these surreal landscapes, Jason attempts to create hauntingly beautiful drawings.
Samples of Jason’s work can found at www.jasonanthonylimberg.com
Short video clip of Jason’s work at The100DayProject exhibit at Peter White Public Library in November 2013:
My 100DayProject exploration:
“I choose to challenge myself to complete an artwork that has always intimidated me, a large-scale drawing. Through the process of 100 days I will gain the discipline, structure, and insight needed to complete such a work. I will also learn by the repetition of approaching this drawing everyday a better understanding of my medium, a ballpoint pen, and a deeper appreciation of a continual sustained practice.”
My Project Rules:
“In order to give a fuller understanding of the 100 day project I require myself to work everyday on my drawing for a minimum of two hours. I can work longer, but two hours will get me through the beginning slog and to a point I can connect with my muses. Also, not to limit my choices for subject matter or materials, since this is about the long journey, to take whatever road that may appear along the way.”
If I could tell people ONE thing about starting a 100 day project:
“Choose an idea to explore that you are so passionate about it makes your mouth salivate and your brain run like it’s riding a unicorn.”
Each artist was asked to respond to the same questions. Read what Jason had to say:
What was it like to get started with your project?
“Getting started for me was full of contradictions. On the one hand it was exciting, on the other, intimidating – daunting. Working on a set task was not the daunting part, it was that I chose a task that always overwhelmed me. For my 100 days I made the decision to approach the largest drawing that I have ever worked on, 72”x50”. My heart always tugged at me to work at this scale since I dedicated myself as a draftsman, but I never saw the opening appear. The 100 day project was the shove I needed.
“Approaching any new work, getting my hands dirty is a must. So after measuring a sheet of paper in this momentous size I made some marks and my ship set sail. Ideas flowed forth, grackles from my yard, flowers, moths… Now my large drawing overwhelms the space in my studio but does not overwhelm me, but entices, teases, and challenges my artistic senses”.
What suggestion would you offer to others about starting a 100 day project?
“Choose something that entices and challenges you. To keep momentum for 100 days you need a project that mentally engages you. Tackle something that you always wanted to do or one that pushes you out of your comfort zone. Getting back into the ring each day to duke it out is only possible if you are actively stimulated.
“I think the two greatest things that can come from a 100 day project is helping develop a strong studio practice and the chance to explore your personal curiosities”.
What was it like sticking with your 100 day project?
“Sticking with my 100 Day Project has been at times effortless and at others, difficult. There are days that I am so excited about how my large drawing is unfolding and the prospect of its potential finessed state. Other days, I stand in front of it and am completely intimidated by its sheer scale and all the areas I need to pull together to be satisfied. I plug along because the ability to overcome an obstacle that I have created for myself is a learning experience in itself”.
What was the biggest challenge you faced with your 100 day project?
“My biggest challenge for this drawing was the ability to cover ground. Not only is this a large sheet of paper but I am also using ballpoint and calligraphy pen to make images on its surface. The amount of marks, cross hatching, and lines to make a meaty drawing was more then I bargained for”.
Is there one suggestion about momentum that you can offer to others?
“The best way to keep momentum in your project is two-fold I believe. First, choose something that you are so passionate about that it makes your mouth salivate and your brain run like it’s riding a unicorn. Secondly, it needs to be a project or work that challenges your norm. The 100 day well would get pretty dry if it was a project that you could close your eyes and do. To make it worthwhile you need to have moments of pure bliss mixed with some butterflies in your stomach”.