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Vessel 3

Vessel 3

A few years after launching Sacred Streets, I felt it necessary to frame myself in similar gold-gilded ways I was framing the individuals I met on the streets.

I was also exploring my own spiritual convictions around sacrifice and humility. I asked myself, what can I tear down? Could a breaking release what lies within the confines of this vessel?

This piece was created at Fuller Seminary in performance with Arianna Caligiuri, Marlita Hill, and Ray Basile.

My practice is centered around portraiture that explores the intersection of humility and holiness. It is a response to writings like St. John’s that remind us that “we are not the Light, but we are witnesses to the light.” The portraits embody and act of sacrifice through the grueling process of constructing the canvas frames, hinging the measured icon windows, and laying gold using an ancient water-gilding technique.

These pieces are also a record of performance in public spaces. After the final strokes, the portrait is slowly and painstakingly cut down the middle using a handsaw or knife, and opened infront of an audience.

The shapes of the openings reference sacred icons and altarpieces. In the culmination of the performance I step back to reveal a portrait obscured by the gold gilded interior.

After entering into marriage in year two of this project, I felt such an intertwining of identity with my spouse that I couldn’t help but bring her into the self-portraits. The humble sacrifice now involved two people in relationship. It became communal.

Price: $1800

Vessel 2

Vessel 2

A few years after launching Sacred Streets, I felt it necessary to frame myself in similar gold-gilded ways I was framing the individuals I met on the streets.

I was also exploring my own spiritual convictions around sacrifice and humility. I asked myself, what can I tear down? Could a breaking release what lies within the confines of this vessel?

This piece was created in the studio and was cut open on film.

My practice is centered around portraiture that explores the intersection of humility and holiness. It is a response to writings like St. John’s that remind us that “we are not the Light, but we are witnesses to the light.” The portraits embody and act of sacrifice through the grueling process of constructing the canvas frames, hinging the measured icon windows, and laying gold using an ancient water-gilding technique.

These pieces are also a record of performance in public spaces. After the final strokes, the portrait is slowly and painstakingly cut down the middle using a handsaw or knife, and opened infront of an audience.

The shapes of the openings reference sacred icons and altarpieces. In the culmination of the performance I step back to reveal a portrait obscured by the gold gilded interior.

After entering into marriage in year two of this project, I felt such an intertwining of identity with my spouse that I couldn’t help but bring her into the self-portraits. The humble sacrifice now involved two people in relationship. It became communal.

Price: $1800

Vessel 1

Vessel 1

A few years after launching Sacred Streets, I felt it necessary to frame myself in similar gold-gilded ways I was framing the individuals I met on the streets.

I was also exploring my own spiritual convictions around sacrifice and humility. I asked myself, what can I tear down? Could a breaking release what lies within the confines of this vessel?

This piece was created at Biola University in performance with Arianna Caligiuri, Marlita Hill, and Ray Basile.

My practice is centered around portraiture that explores the intersection of humility and holiness. It is a response to writings like St. John’s that remind us that “we are not the Light, but we are witnesses to the light.” The portraits embody and act of sacrifice through the grueling process of constructing the canvas frames, hinging the measured icon windows, and laying gold using an ancient water-gilding technique.

These pieces are also a record of performance in public spaces. After the final strokes, the portrait is slowly and painstakingly cut down the middle using a handsaw or knife, and opened infront of an audience.

The shapes of the openings reference sacred icons and altarpieces. In the culmination of the performance I step back to reveal a portrait obscured by the gold gilded interior.

After entering into marriage in year two of this project, I felt such an intertwining of identity with my spouse that I couldn’t help but bring her into the self-portraits. The humble sacrifice now involved two people in relationship. It became communal.

Price: $1800

Jose Inzuza

jose inunza

During garage sales, families haul their histories out onto their driveways. As I attended these garage sales throughout the Casa Blanca neighborhood on Saturday mornings, I would meet the families, hear their stories, and find objects among their things that could serve as canvases for their portraits. Casa Blanca is a humble place, yet so rich in history, which is ingrained not only in its residents, but also its objects.

These old car parts, cheap appliances, dinged furniture pieces, and endless clothing items were cheap cast-offs to the owners, but still hold value in the story they tell of that owner. To associate a person so deeply with these items as to draw their portraits on them falls short in ways, but it is a strong physical representation of how we make an impression on our objects and surroundings and how they impress us.

Author Nikki Grimes responded to each portrait and person with a one-page poem.

Price: $1800

Katherine Oporto

Katherine Oporto

During garage sales, families haul their histories out onto their driveways. As I attended these garage sales throughout the Casa Blanca neighborhood on Saturday mornings, I would meet the families, hear their stories, and find objects among their things that could serve as canvases for their portraits. Casa Blanca is a humble place, yet so rich in history, which is ingrained not only in its residents, but also its objects.

These old car parts, cheap appliances, dinged furniture pieces, and endless clothing items were cheap cast-offs to the owners, but still hold value in the story they tell of that owner. To associate a person so deeply with these items as to draw their portraits on them falls short in ways, but it is a strong physical representation of how we make an impression on our objects and surroundings and how they impress us.

Piece misplaced. If found please contact.

Peter Juarez

peter Juarez

During garage sales, families haul their histories out onto their driveways. As I attended these garage sales throughout the Casa Blanca neighborhood on Saturday mornings, I would meet the families, hear their stories, and find objects among their things that could serve as canvases for their portraits. Casa Blanca is a humble place, yet so rich in history, which is ingrained not only in its residents, but also its objects.

These old car parts, cheap appliances, dinged furniture pieces, and endless clothing items were cheap cast-offs to the owners, but still hold value in the story they tell of that owner. To associate a person so deeply with these items as to draw their portraits on them falls short in ways, but it is a strong physical representation of how we make an impression on our objects and surroundings and how they impress us.

Author Nikki Grimes responded to each portrait and person with a one-page poem.

Price: $1800

Melissa Richard

Melissa RICHARD

During garage sales, families haul their histories out onto their driveways. As I attended these garage sales throughout the Casa Blanca neighborhood on Saturday mornings, I would meet the families, hear their stories, and find objects among their things that could serve as canvases for their portraits. Casa Blanca is a humble place, yet so rich in history, which is ingrained not only in its residents, but also its objects.

These old car parts, cheap appliances, dinged furniture pieces, and endless clothing items were clutter and cast-offs to the owners, but still hold value in the story they tell of that owner. To associate a person so deeply with these items as to draw their portraits on them falls short in ways, but it is a strong physical representation of how we make an impression on our objects and surroundings and how they impress us.

Author Nikki Grimes responded to each portrait and person with a one-page poem.

Price: $1800

Training with Ginger

I was able to go out the the HUB in Orange and train a local art student in the relational portrait method. Her name is Ginger Anderson she was born for this. As I brought her to shadow me in the relational portrait method it was clear all I was doing was opening the door. she has shown me that Sacred Streets is a movement, not a singular mission.

Her drawing was so elegant, with Tanya’s hand under her chin and the weighty expression in her eyes. Ginger went on to make two more sketches of two different peoples’ eyes. I didn’t think we had enough time but they were urging us to fit them and Ginger felt up for the task.

I always knew that training people in the relational portrait method was part of what I was called to. But never did I conceive that it could be helping others to walk into their specific calling. My vision was expanded.
Here’s what Ginger says about Tanya who she got to know through her time drawing her.

“Tanya is one of the most determined and hopeful women I have ever met. She has been through a lot in her life that to most would be grounds to give up, but instead Tanya chooses to give. Give to her family and to others. As I was talking to her she was smiling at everyone who passed, helping others get the food they needed and reminiscing with her significant other of 25 years. She is determined to see hope and she is a part of hope in others’ lives.

I often say that words are not needed in order to connect with someone while a portrait is being made and this moment put that to the test. I drew Robert, who is deaf. His kind spirit made him easily approachable. I was glad to be able to affirm Robert’s life and being without using words. I learned that he loves basketball and he is waiting and praying to be reunited with his wife Jacquelin who is sick.

How It All Started

So, how did I get started with all this?

When I was very young, I remember my dad’s nickname for me: “light in dark places.” However, in my early years I let myself fall silent and unseen. It was not until my mid-teens that I understood my true identity as God’s beloved son, called out of the shadows into the light. I became compelled to find ways to connect with people who felt stuck in the shadows like I did.

Just before entering college, I was wrestling over my life’s calling. I wondered about my gift of making portraits and my love for connecting to people cross-culturally. Would I choose to be an artist or a social worker? Art or people? As I struggled over this dichotomy, the Spirit gave a wonderful answer. “You can do both.” With that very word, I received a rush of images in my mind of making portraits with people as a way to show love and connect. I have been pursuing this integration ever since.

I started to use my love of creating portraits to connect with people I met living on the sidewalk near my college. I saw immediate impact. After some time spent with Steve and making his portrait he told me, When I’m with you, I feel human again.” After this I took my materials to Skid Row knowing I had to make more relational portraits.

These relational portraits matter because they affirm the value of a person’s identity—in a way they never forget. A tangible vision of their value that never changes.

That same year, I started using recycled objects as the canvas—another layer to communicate the story of restoration.

My life’s contribution continues to lead back to portraits of people who are unseen in our society. I’ve seen people rescued from life on the streets because of sitting for their portrait. So, I’ve dedicated my career to this vision.

Portrait at OC Rescue Mission

Jason Leith gets the opportunity to create a portrait for two residents at the Orange County Rescue Mission OCRM. This mother and daughter were in recovery from a difficult set of circumstances, but they were embracing one another in the journey toward stability. Jason captures the unique pieces of their story in a way that they will be encouraged for the road ahead and to tell the story to others who are supporting OCRM. A painting like this timelessly captures the life change that organizations like OCRM are seeing every day.

If you’d like to have a portrait done of someone in recovery in your organization, please email jason @ sacred streets dot org.