Eduardo Benedeto,
Colin Burns,
Daniel Edwards,
Steve Ellis,
Johnny Fenix,
Steven Gagnon,
Jason Douglas Griffin,
David Hochbaum,
Justin Kirchoff,
Martina Kubinyi,
Travis Lindquist,
Brian Leo
GoldMine ShitHouse,
David Stoupakis,
David Tree,
Kevin Willis






CKFA pours Kelso of Brooklyn Nut Brown Ale

Jason Douglas Griffin

Intensely personal, while at the same time unpretentious and accessible, Jason Douglas Griffin’s paintings borrow equally from classical artistic traditions, urban aesthetic, and pop culture. In Griffin’s paintings, the intersection of cultures and ideologies produce an innovative style that challenges the common perceptions of identity.

Jason Douglas Griffin was classically trained as a painter, following the standard arc that began with the representational work required by his teachers, and continued towards the abstract style common in today’s art schools. In his search for a more personal style, Griffin returned to an unconventional aesthetic: graffiti and urban design. While growing up outside of Washington D.C., Griffin’s social circle reflected a diversity that was absent in his paintings. In fact, the original impetus for his interest in art came from working with graffiti and tattoo artists throughout his adolescence. It became clear that the urban lifestyle he led was becoming increasingly separated from the aesthetic of his artwork. Griffin’s breakthrough came when he collaborated with Jason Reynolds, a close friend and poet. Their book, SELF, explores a humanistic and brutally honest approach to art, and serves as a platform to display the beauty born from turbulence. Simultaneously, SELF also is an example of what Griffin refers to as, “hybrid art”- the seamless combination of poetry and painting. Since publishing SELF, Jason Douglas Griffin has continued to use art to investigate the collision of culture, native thought and the effect it has on one’s sense of identity.