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This work is a part of my Others series. The ideas behind the Others branches off from The Forest series. The Others become a metaphor for the state of alterity within humanity, acting as guardians to the unknown. One reason for the myths of others, whether extra terrestrials, Icelandic trolls, zombies, or monsters in general may be to process the (potentially safe) unknown that we may fear. On one hand, the other can become an excuse, a concern of our safety, keeping us from wandering into uncharted terrain. On the other hand, society often uses others as a way to live vicariously. They become an avatar to prompt the imagination into the unexplored, initiating areas of hidden understanding. This is uncovered in the latin version of monster - monstrare - meaning to show, reveal, point out, advise, teach.

In the Others paint is handled in an expressionistic intuitive way to construct an abstract figural form. Each mark is an improvised reaction to the proceeding marks. These anthropoids compare to a gravitation pull targeting the nature-ish world around them, curating various paint marks that might resemble flora of leaves, flowers, or branches, or maybe more geological formations of sand, minerals, and rock — all commingled in large, colorful brushstrokes sweeping through the air, collecting other vegetation/paint suspended in its reach. Again the limbo state of abstract paint and representation creates a sense of the familiar that never quite lands into place, leaving the viewer to ponder what the figure or the paint pile is. The viewer must treck through their imagination to put this figure together. In the process I hope the figure shows, reveals, points out, advises, and teaches.
This work is a part of my Others series. The ideas behind the Others branches off from The Forest series. The Others become a metaphor for the state of alterity within humanity, acting as guardians to the unknown. One reason for the myths of others, whether extra terrestrials, Icelandic trolls, zombies, or monsters in general may be to process the (potentially safe) unknown that we may fear. On one hand, the other can become an excuse, a concern of our safety, keeping us from wandering into uncharted terrain. On the other hand, society often uses others as a way to live vicariously. They become an avatar to prompt the imagination into the unexplored, initiating areas of hidden understanding. This is uncovered in the latin version of monster - monstrare - meaning to show, reveal, point out, advise, teach.

In the Others paint is handled in an expressionistic intuitive way to construct an abstract figural form. Each mark is an improvised reaction to the proceeding marks. These anthropoids compare to a gravitation pull targeting the nature-ish world around them, curating various paint marks that might resemble flora of leaves, flowers, or branches, or maybe more geological formations of sand, minerals, and rock — all commingled in large, colorful brushstrokes sweeping through the air, collecting other vegetation/paint suspended in its reach. Again the limbo state of abstract paint and representation creates a sense of the familiar that never quite lands into place, leaving the viewer to ponder what the figure or the paint pile is. The viewer must treck through their imagination to put this figure together. In the process I hope the figure shows, reveals, points out, advises, and teaches.
This work is a part of my Others series. The ideas behind the Others branches off from The Forest series. The Others become a metaphor for the state of alterity within humanity, acting as guardians to the unknown. One reason for the myths of others, whether extra terrestrials, Icelandic trolls, zombies, or monsters in general may be to process the (potentially safe) unknown that we may fear. On one hand, the other can become an excuse, a concern of our safety, keeping us from wandering into uncharted terrain. On the other hand, society often uses others as a way to live vicariously. They become an avatar to prompt the imagination into the unexplored, initiating areas of hidden understanding. This is uncovered in the latin version of monster - monstrare - meaning to show, reveal, point out, advise, teach.

In the Others paint is handled in an expressionistic intuitive way to construct an abstract figural form. Each mark is an improvised reaction to the proceeding marks. These anthropoids compare to a gravitation pull targeting the nature-ish world around them, curating various paint marks that might resemble flora of leaves, flowers, or branches, or maybe more geological formations of sand, minerals, and rock — all commingled in large, colorful brushstrokes sweeping through the air, collecting other vegetation/paint suspended in its reach. Again the limbo state of abstract paint and representation creates a sense of the familiar that never quite lands into place, leaving the viewer to ponder what the figure or the paint pile is. The viewer must treck through their imagination to put this figure together. In the process I hope the figure shows, reveals, points out, advises, and teaches.
This work is a part of my Others series. The ideas behind the Others branches off from The Forest series. The Others become a metaphor for the state of alterity within humanity, acting as guardians to the unknown. One reason for the myths of others, whether extra terrestrials, Icelandic trolls, zombies, or monsters in general may be to process the (potentially safe) unknown that we may fear. On one hand, the other can become an excuse, a concern of our safety, keeping us from wandering into uncharted terrain. On the other hand, society often uses others as a way to live vicariously. They become an avatar to prompt the imagination into the unexplored, initiating areas of hidden understanding. This is uncovered in the latin version of monster - monstrare - meaning to show, reveal, point out, advise, teach.

In the Others paint is handled in an expressionistic intuitive way to construct an abstract figural form. Each mark is an improvised reaction to the proceeding marks. These anthropoids compare to a gravitation pull targeting the nature-ish world around them, curating various paint marks that might resemble flora of leaves, flowers, or branches, or maybe more geological formations of sand, minerals, and rock — all commingled in large, colorful brushstrokes sweeping through the air, collecting other vegetation/paint suspended in its reach. Again the limbo state of abstract paint and representation creates a sense of the familiar that never quite lands into place, leaving the viewer to ponder what the figure or the paint pile is. The viewer must treck through their imagination to put this figure together. In the process I hope the figure shows, reveals, points out, advises, and teaches.
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Pteroped Hygravas
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Pteroped Hygravas Painting

Michael Nauert

United States

Painting

Size: 12 W x 16 H x 1 D in

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About The Artwork

This work is a part of my Others series. The ideas behind the Others branches off from The Forest series. The Others become a metaphor for the state of alterity within humanity, acting as guardians to the unknown. One reason for the myths of others, whether extra terrestrials, Icelandic trolls, zombies, or monsters in general may be to process the (potentially safe) unknown that we may fear. On one hand, the other can become an excuse, a concern of our safety, keeping us from wandering into uncharted terrain. On the other hand, society often uses others as a way to live vicariously. They become an avatar to prompt the imagination into the unexplored, initiating areas of hidden understanding. This is uncovered in the latin version of monster - monstrare - meaning to show, reveal, point out, advise, teach. In the Others paint is handled in an expressionistic intuitive way to construct an abstract figural form. Each mark is an improvised reaction to the proceeding marks. These anthropoids compare to a gravitation pull targeting the nature-ish world around them, curating various paint marks that might resemble flora of leaves, flowers, or branches, or maybe more geological formations of sand, minerals, and rock — all commingled in large, colorful brushstrokes sweeping through the air, collecting other vegetation/paint suspended in its reach. Again the limbo state of abstract paint and representation creates a sense of the familiar that never quite lands into place, leaving the viewer to ponder what the figure or the paint pile is. The viewer must treck through their imagination to put this figure together. In the process I hope the figure shows, reveals, points out, advises, and teaches.

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Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:12 W x 16 H x 1 D in

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The illusions of familiarity we hold onto for comfort can keep us from something we don't realize we are passionately in love with. Illusion and realism stunted my understanding of art until I experienced the beauty in the way my body, hands, and mind express. I sensed a love for my natural state. When I painted in the jungle for a summer, my illusions of failure, sustained by self-sabotage, fell apart. I let myself reconnect to things I loved — exploring and painting in nature. This event opened up abstract painting for me. Through abstraction and color I destabilize the illusion of “a place”. When paint has space to be paint (oozing, pooling, dripping, gritty, bright, and slimy smooth alchemical sludge) it can be unsettling, especially after its history of realism. Though it can be agitating, abstraction celebrates all of the qualities of paint. In the same way, we can make room to value our intrinsic characteristics through the unnerving acknowledgement of ourselves. I paint nature because it is the environment that sustains life, and from it we can resonate the life within ourselves. Nature tunes us, and in dissonance exposes our illusions. It speaks to our natural state below the ego. As nature calls us to journey through our boarders, we discover who we innately are. In admiring these findings we can make a place for ourselves. Slipping in and out of the familiar through abstract mark making, I draw parallels between nature and human nature in hopes that viewers will discover and cherish more of their inner-landscapes.

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