The colorful story of Jason Glasser is almost as rich as the pluridisciplinary diversity of his creative practice.

Once upon a time, uncommonly creative parents encourage a bright-eyed bundle of Connecticut curiosity to blossom into a fresh-faced Massachusetts art student who becomes an unexpected celebrity with his band, Clem Snide. New York beckons, our artist submerges himself in Hunter College painting while unable to drop his rockstar alter-ego. He marries a French girl, shows his paintings at LFL, PS1 and Parker’s Box then heads for Paris, the City of Romance, becomes a father, and lives happily ever after? Except that, after numerous shows in Europe, Glasser today shows his art with one of the best galleries in Paris, his new band just played the legendary Zenith, and if his new album gets the acclaim the last one did, our boy will be on Cloud Nine…again!

Which is why Parker’s Box is overjoyed to welcome Jason Glasser back to Brooklyn with Graphic Fuzz, his second solo exhibition at the gallery. As an artist making paintings, drawings, collages, videos and music, Jason Glasser tirelessly offers us his poetic universe- a kind of primitive, handmade-videogame dissection of Americana, with good guys and bad guys who at any minute can become bad guys and good guys.

The strength and contemporaneity of Jason Glasser’s work lies not only in his ability to transform his various techniques (new and old technologies), but above all in his artistic vocabulary, his unexpected but strangely familiar subjects, and the metaphoric complexity of his simple imagery. Most importantly, Jason Glasser has unstoppable confidence and faith in the power of art, and will endlessly revel in trying everything at least once. This perpetual sense of wonderment in the exploration of images is paralleled by his story of the Graphic Fuzz effects pedal. Glasser explains his belief that the Graphic Fuzz pedal would be the answer to all of his prayers for revolutionizing the sound of his electric cello. I plugged my cello into its shiny rectangular body and turned on the amp. It buzzed, it created feedback, it sounded just like the way I normally play with a lot less presence and a lot more unmusical noiseÉ.It sucked. I returned it. In his artwork, Jason Glasser offers us all of the Killer Fuzz we’ll ever need, and more, with no artificial assistance! Meanwhile the bright-eyed kid from Connecticut is also still out there, looking for another effects pedal he might try…