I Can’t Believe It’s Not Better Painting by Mark Mitchell

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I Can’t Believe It’s Not Better

Mark Mitchell

United States

Painting

Size: 24 W x 24 H x 1.4 D in

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About The Artwork

I Can’t Believe It’s Not Better A Conceptual Pop Painting by Mark Mitchell (Based on a True Story) August 2015, deep in the heart of a Rust Belt state. A woman observes a vision, appearing in a most unexpected place. But it wasn't Jesus or Mary, or even Elvis. It was him again. The one in every newspaper, on every TV. Ubiquitous. Right there, in plain sight, in a tub of butter, that face. With mouth agape—on yet another boorish tirade. Orange, gooey and molten, twisted in outrage. Like a premonition of things unsaid. A psychic prediction of the low road ahead. The schoolyard bullying, the carnival barker theatrics. Inflammatory actions and thin-skinned reactions. The devious words that would rally a nation’s darkest tendencies. And ultimately conclude with the narrowest, most contentious of pale victories. So go ahead. Dig in. Taste the disappointment. All hail King Butterface. That's where your vote went. __________________________________________ Original Painting Specs: 24" X 24" Acrylic Painting on High-Quality 12 oz. weight Fredrix Gallery Wrap Dixie Canvas (Depth: 1-3/8" Bar) w/ solid black painted sides Museum-Grade Isolation Coat and Semi-Gloss U/V Varnish ©2016 Mark Mitchell | All Rights Reserved

Details & Dimensions

Painting:Acrylic on Canvas

Original:One-of-a-kind Artwork

Size:24 W x 24 H x 1.4 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

I am a multimedia artist, specializing in painting Conceptual Pop Art, as seen during ART BASEL MIAMI at SCOPE and SELECT FAIR, SEE | ME Exhibitions at THE LOUVRE and ARMORY ARTS WEEK NYC, GASPARILLA FESTIVAL OF THE ARTS, TAMPA and featured on FOX13-TV GOOD MORNING TAMPA BAY. As a Pratt graduate, SVA student and former advertising Creative Director, I have spent my career honing my visual and communication skills. Always in pursuit of “The Big Idea”, I have learned how to put concept first, and manipulate imagery to surprise, provoke and reward the viewer. Whether the medium is painting, photography, design, music, spoken word or video, I reach for everything in the toolbox that can help achieve that goal — sometimes all of the above. Today, my approach as an artist is to draw on the power of mass media and pop culture, while repurposing its icons, imagery and techniques to deliver a more personal artistic statement. Through the use of meaningful juxtaposition and social commentary, my work is an exploration of the irony, contradiction, parallels and harmony to be found in 21st-century life. ARTIST STATEMENT Look deeper. In a world where we are bombarded every day by images through mass media, what makes any single image resonate with the viewer? What makes it meaningful? What makes it memorable? The art that has always appealed to me has never been just a pretty picture. It's had some extra intangible quality that gave me pause to reflect. Some unique perspective, sense of mystery, an ironic twist or surprising technique that required me to stop, pay close attention, and actually think. This kind of eye-opening art can be especially meaningful today, when it's becoming increasingly difficult to take anything at face value. We are living in a land of artifice. Spin is the order of the day, as we find ourselves surrounded by a circus of Hollywood celebrities, marketers, politicians, pop stars and special-interest groups"”all out to convince us that their story is the one to believe. But when we pull back the curtain, we often find that what we see, is not nearly what we get. At its core, my work is an attempt at a wake-up-call, by exposing things that may otherwise be hidden from view. Each piece is intended to catch you, the viewer off-guard, invite you in for further exploration of its elements, and challenge you to make connections, find meaning, and ultimately see differently some aspect of the world in which we live.

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