Born in East Greenwhich, Rhode Island on the 23rd of October, 1984; James always sought solace in imagination and fantasy outside of Big Brother’s thought command structure. Rigid ISA’s of newspeak tried to regulate his mind to blackwhite, damning oldspeak as thoughtcrime. Reagan’s senile objectivist womb birthed Bush, choking and sputtering points of light that cast ghastly shadows cloaking hope. Gasping at the thrall of a Manichean machine, James crawled to Florida, gestating among the palm trees, surfers and pelicans. A few years of punk rawk, of nihilism and anger that generates out of alienation from the other. Terry and Sam helped pull him out of that nose dive, reminding that “kid, we’re all in this together.” He was rode hard by Lumiere Loa, creating all sorts of cinematic shorts as he drove his high school years hard to a close. In college James drifted from the art of motion pictures to the encapsulation of the moment in photography, as it was cheaper. He avoided class and frequented that den of indecency and loose morals that is Railroad Square, shacking up with fellow freaks and dregs cast off of social acceptance’s enormous bosom in that cooperative known as South of Soho. A few years of gallery exhibitions, juried shows and fine art festivals and James learned to bend at the knee and worship at corporate America’s teats. Curled into a fetal position, James lay comatose in retail hell until the soft luminescence of inspiration lulled him from his slumber.

Nah, I’m shitting you.

I grew up loving movies and comics and the implied movement and emotion that comes from juxtaposed images. And through digital art I was able to condense that sense of motion, that fantastic sense of evolution and potential into singular images. A phenomenal teacher of mine, Dr. Amit Rai, introduced me to Deleuze and Bohm and all those crazy philosopher physicists and logisticians who emphasize that potential, that moment where the bifurcation splits and paradox is embodied. My art is intended to be that, a potential. For movement and thought and interpretation. Through layers and a multiplicity of imagery I want it to never be stagnant, I want it to evolve with the audience and gain new meanings with every viewing. From a kid who grew up with a paralyzing fear of death; these collages imply a constant change, a constant growth through which we defeat death.

My first true public showing of art was back in 2004 when I got third place in a juried show at Oglesby Union Art Gallery at FSU. I’ve had numerous group shows in the Big Bend Area, hit the fine art festival circuit a bit, been published a few times and even been one of the chosen emerging artists at the Gasparilla Festival of the Arts back in 2008. Until recently I’ve been more focused on paycheck than expression but that’s changed and I’m aggressively producing new work, going after publications, exhibitions and juried shows and 2012 is going to be my year.

-James Mazza…. February 5th, 2012

James Mazza on the tracks up in Georgia.

James Mazza on the tracks up in Georgia as shot by Ansley Simmons.

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