2 minutes reading time (488 words)

Jason Rafferty

Jason Rafferty

Opening and Reception

Meet the Artist!

Saturday, November 8th from 6 to 8pm


Trained at Studio Escalier in Paris, Asheville Artist Jason Rafferty shares his extraordinary work with us. 




In the spirit of good craftsmanship, what goes into a painting and how it is constructed should be just as important as the painting itself. 

The process of creating a piece of art starts long before commencing the painting. There is intimacy and satisfaction in the ritual of preparing your own work surfaces, whether canvas, paper or panel.

I follow methods informed by the Old Masters as well as well as contemporary research into the most stable and durable methods of construction. Preparing surfaces according to sound principles ensures their durability for centuries.



Panels are measured, cut and sanded, sized with archival glue, coated several times with a homemade traditional gesso, and re-sanded for a fine, smooth surface.

 Canvas must be trimmed, stretched taut on hand-assembled wood strips, and have an oily ground applied. 

Paper is sized with glue and can also be gessoed for a versatile, portable drawing or painting surface. A recent favorite is mounting prepared paper or linen to a panel. 

The possibilities are wide open once one gains a familiarity with the craft.

Since 2010 I have apprenticed with a handful of professional artists that know how to create great drawings and paintings that will last. In particular, my ongoing work with the landscape painter John Mac Kah has solidified my understanding of the craft elements of painting. 

Apprenticing in John's studio, I have been shown the value of small-batch, homemade surfaces over those produced in mass, far away.

In the same line, the paints I use are of the absolute highest quality, providing rich, stable coloring, and many are ground locally at Blue Ridge Oil Colors in Asheville, NC. 



The same consideration is also given to framing. I am a scrupulous framer, choosing each design uniquely for its artwork. 

Upon obtaining a frame, I will paint or stain the back for clean appearance, wax the entire surface for sheen and protection, clean the glass (if applicable) with a microfiber cloth, and carefully hand-assemble it with the art. 


I now frame drawings using museum conservation techniques for works on paper, involving hinging the art to the mat with rice starch glue and feathered japanese paper. Everything is acid-free and archival, assuring it will endure for generations.

Artists: Check my resources page for additional info on John Mac Kah's studio. I also link to a few good books that we use for reference on matters of craft. Currently I don't know of a good online resource. Far and away the best resources, however, are knowledgeable artists within your own community or abroad.

Selected images provided on this page are courtesy of Michael Milano, a good friend and an outstanding photographer/filmmaker. I certainly recommend checking out his work, linked on the Resources page.


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The Crusher Cabernet Sauvignon