Oil enamels and mixed media on canvas

“The reason why i thought the toppling of statues would be a good topic to explore, is because I hadn’t seen any American painter in art history address a series of paintings in such manner. Symbolically, it personifies contemporary and past challenges in one and takes the discussion from local to national to international. Historically, it has always been a move for independence and justice in American culture.... “

Oil enamels and mixed media on canvas
“The reason why i thought the toppling of statues would be a good topic to explore, is because I hadn’t seen any American painter in art history address a series of paintings in such manner. Symbolically, it personifies contemporary and past challenges in one and takes the discussion from local to national to international. Historically, it has always been a move for independence and justice in American culture.... “

Oil and mixed media on canvas
48 x 48 in

Oil and mixed media on canvas
54 x 70 in

Oil and mixed media on canvas
54 x 70 in

Oil and mixed media on canvas
54 x 70 in

Oil and mixed media on canvas
54 x 70 in

84” x 72”

Oil enamel mixed media oil
stick on canvas

60”x 48”

40” x 40”

Oil enamel mixed media
collage on canvas

Urban Vernacular blends the two major influences in artist Marcus Jansen's oeuvre, his early days as a graffiti writer and the influence of the Expressionists from his days in Germany. In this work, Jansen reacts to the societal erosion of today's inner city environment and the juxtaposition the innocents as they go about their daily life in the midst of encompassing urban decay.

48” x 48”

“The reason why i thought the toppling of statues would be a good topic to explore, is because I hadn’t seen any American painter in art history address a series of paintings in such manner. Symbolically, it personifies contemporary and past challenges in one and takes the discussion from local to national to international. Historically, it has always been a move for independence and justice in American culture.... “

- Marcus Jansen

Oil enamels, oil stick, aerosol with Styrofoam on paper
30 x 22 in

Jansen’s Faceless series were first painted in 2012 and he continues developing the series today. His Faceless series investigates the secrecy of faceless men in suits, suggesting that perhaps the real power behind these anonymous, faceless men lies somewhere, or with someone, else.
The first Faceless works were shown at the Contemporary Museum of Art PERMM Russia’s “Anonymous” Exhibition curated by the well-known and controversial curator Marat Guelman. Works were placed in the permanent collection at the PERMM the same year and a series appeared in Division Magazine February 2014.

Oil enamels, oil stick, aerosol with Styrofoam on paper
30 x 22 in

Jansen’s Faceless series were first painted in 2012 and he continues developing the series today. His Faceless series investigates the secrecy of faceless men in suits, suggesting that perhaps the real power behind these anonymous, faceless men lies somewhere, or with someone, else.
The first Faceless works were shown at the Contemporary Museum of Art PERMM Russia’s “Anonymous” Exhibition curated by the well-known and controversial curator Marat Guelman. Works were placed in the permanent collection at the PERMM the same year and a series appeared in Division Magazine February 2014.

88’ x 108”

One of the largest works in Jansen's continuing Faceless series, Revolutionary Elites questions the founding fathers role as revolutionaries while being members of a privileged, elite society.
This work was featured in the 2016 La Triennale di Milano museum exhibition and "New Horizons" at Museum Zitsdelle, Berlin, Germany in 2018.

135” x 88”

Oil enamel mixed media on
canvas

48” x 60”

Jansen began the Phone Infiltrators series in 2006 and has continued the series now employing 1920 style phones.
Until the 1920's, wiretapping was most often used by private detectives and corporations. It wasn’t until Prohibition that it became a common law enforcement tool, but even after a 1928 Supreme Court ruling narrowly affirmed the constitutionality of police wiretapping, its legality—and its morality—remained a point of fierce contention. Jansen’s “Orwellian Phones” depict the erosion of communication and confidentiality in our society.