Recent works on Paper.

While Website is Rebuilt Here is some Painting and Drawing Work - by Mike Start

- < 1/4 Mile Painting  

Mixed Media

- out-of-time-line. 

Deconstruction of Ego.

Homage to Rauschenberg

This painting is a personal illustrative empirical out-of-timeline visually processing the pleasure and pressure of the  local, global and media culture on the self

Collaboration with others is part of deconstruction of lone artist ego structure. Collaborations have varied from using another artists technique outside of my own skill set to enhance a part of the painting, dedicating a panel to an artist and painting side by side with them in the studio, and a text artist who stenciled graffiti over a panel. Two panels were destroyed in a group performance piece and then rebuilt.

less than 1/4 Mile Painting Install at liminal . Mixed media . 70' x 4'

- Relational Surveillances

Acrylic on Board

I enjoy the technical challenge of combining abstract gestural techniques with realism and compositional movement. The early paintings in this series revealed themselves to be sketches with one realistic figure (usually a building) anchored or floating in a chaotic gestural background. The sketches developed into larger compositions of numerous figures, tied together with an abstract compositional formalism. The bubbles inspired by technical drawing and diagrams elude to an unseen narrative within the figure. 

- The series draws on references to art history, personal experience and speculation. Subject matter of suburbia, the built environment, criminalization of youth, comfort, influence, technology and surveillance. Ongoing series since 2003.

Blunt Razor . Acrylic on Panel . 24" x 24"

Buick . Graphite And Acrylic on Paper . 10" x 8"

Dark Wave Mickey. Acrylic and Graphite on Paper . 8" x 10"

Double Standard . Acrylic on Panel . 24" x 24"

Trifecta . Acrylic on Panel . 12" x 12"

PolliNation . Acrylic on Panel . 32" x 24" 

Chase . Acrylic on Panel . 24" x 24"

Julians Planes .  Acrylic and Graphite on Paper . 10" x 10" 

Maximum Minimum . Acrylic on Panel . 30" x 30"

Morning Sickness . Acrylic on Panel . 24" x 24"

Not Right Now . Acrylic on Panel . 24" x 24"

Questionable Self Worth . Acrylic on Panel. 48" x 12"

Sacrifice Fly . Acrylic on Panel . 24" x 24"

The Judgement of Solomon Revisited . Acrylic on Panel 24" x 12"

Viagra Glock . Graphite on Paper . 10" x 8"

XR2i . Acrylic and Graphite on Paper . 10" x 8"

untitled . Graphite on paper (inverted) . 30" x 14"

Intersect . Graphite on Paper (inverted) . 24" x 18"

Portrait 1 . Charcoal on paper . 18" x 24"

Nude . Charcoal on Paper . 24" x 18"

Nude . Charcoal on Paper . 18" x 24"

Portrait . Charcoal on Paper . 18" x 24"

Custard Factory Residency Birmingham UK - January / February 2000

All three paintings made from materials gathered on a bulk trash scavenge

Birmingham Bull Ring / Mixed media on Door 32" x 81"

A detailed crack in the suburbs Latex and carving on Masonite w/ Photographs 96" x 48"

Birth / Death Mixed media on Door 80" x 28"

Njideka Akunyili

How to stay connected to the amorphous Idea of home.

Pheobe Washburn

Phoebe Washburn recycles discarded industrial materials in large-scale installations that transform exhibition spaces into visually compelling architectural environments. Washburn’s favored materials are cardboard boxes and wood that she scavenges from Dumpsters, sidewalks, and businesses near her Brooklyn studio and Lower Manhattan home. She cuts the material into roughly uniform pieces that she ships to galleries and then assembles into loosely designed constructions, sometimes incorporating items found on-site as well.

For Vacational Trappings and Wildlife Worries (2007), a recent piece shown at the Institute of Contemporary Art at the University of Pennsylvania in Philadelphia, she converted a sloping ramp into a walk-through tunnel with walls composed of scraps of wood screwed together in an overlapping, shinglelike patchwork that suggested a rustic shack. Windowlike openings contained fish tanks and a small pond with water plants, alluding to the natural world outside.

Like artists such as Nancy Rubins, Vik Muniz, and Sarah Sze, Washburn composes her pieces with items from the world of manufacturing, and this choice seems to comment on the profusion and waste of consumer culture. But she says her recycling of refuse is not an ecological act: “A lot of my working process involves skimming off of other industries, but my decision to collect and repurpose materials was not born out of trying to make a statement at all.” She explains that her compulsion to accumulate discarded materials to feed her art is motivated by “greed” rather than notions of conservation. Yet her work continues to resonate with ideas about economy and sustainability.

For the Deutsche Guggenheim in Berlin she created Regulated Fool’s Milk Meadow (2007), a mechanized factory for the production of its own grass sod. Within a crude ovoid wooden structure, a computerized conveyor belt moved eighty-five rectangular planter boxes of grass through watering, drying, and grow light stations, simulating ideal growing conditions. Each week, gardeners transferred mature sod from the factory’s conveyor loop to the sloping roof, where the grass eventually wilted and died. “People read it as a sad gesture about the cycle of life and death, and that surprised me a bit because initially the grass was just an excuse to have a factory,” Washburn explains. “The sculpture is the industry producing its own parts, and the cycle of production and waste is right there in the gallery.” She aspires to make an installation that is a kind of “organism” that consumes its by-products and regenerates.

Though she modestly describes her handmade installations as “clumsy, labored, slow-growing events” and refers to her factories and mini-ecosystems as “antiindustrious” and “irrational,” they have an elegance of form that captivates viewers with their raw beauty, while providing a “green” critique of design and industry. JASON EDWARD KAUFMANGallery

A Day in the World

Bookshelf porn