VIEW IN MY ROOM
United States
Painting, Acrylic on Soft (Yarn, Cotton, Fabric)
Size: 40 W x 29 H x 1.5 D in
Ships in a Crate
Artist Recognition
Featured in Rising Stars
Artist featured in a collection
www.artbycarney.com The focus of my practice explores balance through illusion and deception, creating relationships of image-based representation to tangible, sculptural objects. Often the perceptual and physical space of painting collides through my use of non-traditional materials and interruption of the painted plane. My interests lie in the space between an image becoming an object and vice-versa. The image is now digested by the masses not as a photo of something else, but as an entity all to itself. The images produced, and now disseminated across endless technological landscapes have found a life of their own; in turn putting in to question the current authority in which the object itself holds. This makes me think of a quote by Christina Rosen, senior editor of the New Atlantis, “It is understandable why so many have been so jealous of the image’s influence. Sight is our most powerful sense, much more dominant in translating experience than taste, touch, or hearing. And images appeal to emotion — often viscerally so. They claim our attention without uttering a word. They can persuade, repel, or charm us. They can be absorbed instantly and easily by anyone who can see. They seem to speak for themselves.” In today’s world, deciphering the difference between looking and seeing is a certain shade of grey that doesn’t lend it self to a culture of immediacy. Using the dichotomy of art with craft and design, benign images and forms are used as points of inquiry. Still lifes, botanicals, woodworking, impressionism and abstract expressionism are so familiar that their very existence can be wallpaper worthy; as to say their histories are often camouflaged in to the mundanity of every day life. Yet, the relationship of skin with bones transgresses the consumable surface and returns them back to an object to be experienced in full. The isolated image or object continues to come to life in its illusion of depth. The three-dimensional references on a two-dimensional plane refer less to pure opticality and more to the play between being seduced by the surface and the seeing and understanding of what's beyond it.
Painting:Acrylic on Soft (Yarn, Cotton, Fabric)
Original:One-of-a-kind Artwork
Size:40 W x 29 H x 1.5 D in
Frame:Not Framed
Ready to Hang:Not applicable
Packaging:Ships in a Crate
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a wooden crate for additional protection of heavy or oversized artworks. Crated works are subject to an $80 care and handling fee. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:United States.
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United States
email: carney.mikej@gmail.com www.artbycarney.com The focus of my practice explores balance through illusion and deception, creating relationships of image-based representation to tangible, sculptural objects. Often the perceptual and physical space of painting collides through the use of non-traditional materials and interruption of the painted plane. Image becomes object and vice-versa. The image is now digested by the masses not as a photo of something else, but as an entity all to itself. The images produced, and now disseminated across endless technological landscapes, have found a life of their own; in turn putting in to question the current authority in which the object itself holds. The digestible still life, botanicals, portraits, pottery and carpentry are so familiar that their very existence is wallpaper worthy. Yet, the relationship of skin with bones transgresses the consumable surface. The isolated image or object then comes further to life with its illusion. An illusion that is less about its pure opticality and more of a reference to reality versus its observed reality. As if one were to view the world through a piece of saran wrap. In 2014, Mike received a Masters of Fine Arts from the School of the Art Institute of Chicago, where for two years he was a Helen Russell Memorial Scholar. Upon completion of his graduate studies, he received a Municipal Art League Fellowship from the city of Chicago. Mike has been the subject of features in Juxtapoz Magazine, New American Paintings, Studio Visit Magazine and with Saatchi Art. His work has been exhibited in numerous galleries in the United States including the Erin Cluley Gallery in Dallas, Copro Gallery in Los Angeles and various galleries in Chicago, San Francisco and Minneapolis. His work appears in many collections, including the Jiminez-Colon Collection.
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