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This is the 6th piece in an ongoing series based on a trip to Seoul, South Korea in 2016. It's based on photos from the entrance to Majang Meat Market where I happened to capture a figure stopping in the center of the composition for a smoke break. I wanted to express the many architectural and interior details of this grimy space covered with signage in an effort to capture the overstimulating emotions that I very frequently felt while in Korea. The figure's rigid stance and the fact that he's smoking alludes to the very real concern of businesses overworking their employees in Korean cities and the dire toll it takes on the physical and psychological well being of many Korean citizens. I pictured this a documentation of his last moments attempting to relieve stress before collapsing.
This is the 6th piece in an ongoing series based on a trip to Seoul, South Korea in 2016. It's based on photos from the entrance to Majang Meat Market where I happened to capture a figure stopping in the center of the composition for a smoke break. I wanted to express the many architectural and interior details of this grimy space covered with signage in an effort to capture the overstimulating emotions that I very frequently felt while in Korea. The figure's rigid stance and the fact that he's smoking alludes to the very real concern of businesses overworking their employees in Korean cities and the dire toll it takes on the physical and psychological well being of many Korean citizens. I pictured this a documentation of his last moments attempting to relieve stress before collapsing.
This is the 6th piece in an ongoing series based on a trip to Seoul, South Korea in 2016. It's based on photos from the entrance to Majang Meat Market where I happened to capture a figure stopping in the center of the composition for a smoke break. I wanted to express the many architectural and interior details of this grimy space covered with signage in an effort to capture the overstimulating emotions that I very frequently felt while in Korea. The figure's rigid stance and the fact that he's smoking alludes to the very real concern of businesses overworking their employees in Korean cities and the dire toll it takes on the physical and psychological well being of many Korean citizens. I pictured this a documentation of his last moments attempting to relieve stress before collapsing.
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Decline and Fall Painting

Mike Ryczek

United States

Painting, Oil on Wood

Size: 30 W x 30 H x 2 D in

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SOLD
Originally listed for $2,910
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About The Artwork

This is the 6th piece in an ongoing series based on a trip to Seoul, South Korea in 2016. It's based on photos from the entrance to Majang Meat Market where I happened to capture a figure stopping in the center of the composition for a smoke break. I wanted to express the many architectural and interior details of this grimy space covered with signage in an effort to capture the overstimulating emotions that I very frequently felt while in Korea. The figure's rigid stance and the fact that he's smoking alludes to the very real concern of businesses overworking their employees in Korean cities and the dire toll it takes on the physical and psychological well being of many Korean citizens. I pictured this a documentation of his last moments attempting to relieve stress before collapsing.

Details & Dimensions

Painting:Oil on Wood

Original:One-of-a-kind Artwork

Size:30 W x 30 H x 2 D in

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I see each of my paintings as a dense collection of layered missteps guided by a single underlying intention. In most of my work, I’m attempting a semi-realistic interpretation of an imagined environment, employing realism and abstraction in a way that gives the impression of a scene on the verge of collapse. The photographic source material I use serves as both a jumping off point and something to fight against. I try to glean from the source only that which resonates with me and dispose of the rest so as to avoid slavish depiction. The ideal result is a faint echo or a total reconstruction of what is observed, anchored by recurring themes of nostalgia, my own existential anxieties and the corruption of human memory. I view the painting process as a form of self-examination – the end product’s value lying in the thoughts, emotions and memories I’ve projected onto the objective source.

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