CHRIS MCGINNIS: Fragments no. 20
Chris McGinnis grew up in southwestern Pennsylvania during the waning years of America's post-war industrial paradigm. Shortly after his birth the steel mills closed and the coal industry consolidated. This region braced for an economic winter from which many communities have yet to emerge. As both artist and curator, McGinnis' research continually returns to notions of growth and decline relating to technology and the human experience. Projects inspired by this research chronicle the pursuit of progress and its effect on all facets of society, ranging from industry and community to science and entertainment. Iconography representing the abundance and promise of industrial modernism is reminiscent of a time when American optimism was specifically manifested in large-scale construction and the built environment.
$500.00
CHRIS MCGINNIS: Fragments no. 21
Chris McGinnis grew up in southwestern Pennsylvania during the waning years of America's post-war industrial paradigm. Shortly after his birth the steel mills closed and the coal industry consolidated. This region braced for an economic winter from which many communities have yet to emerge. As both artist and curator, McGinnis' research continually returns to notions of growth and decline relating to technology and the human experience. Projects inspired by this research chronicle the pursuit of progress and its effect on all facets of society, ranging from industry and community to science and entertainment. Iconography representing the abundance and promise of industrial modernism is reminiscent of a time when American optimism was specifically manifested in large-scale construction and the built environment.
$500.00
CHRIS MCGINNIS: Fragments no. 22
Chris McGinnis grew up in southwestern Pennsylvania during the waning years of America's post-war industrial paradigm. Shortly after his birth the steel mills closed and the coal industry consolidated. This region braced for an economic winter from which many communities have yet to emerge. As both artist and curator, McGinnis' research continually returns to notions of growth and decline relating to technology and the human experience. Projects inspired by this research chronicle the pursuit of progress and its effect on all facets of society, ranging from industry and community to science and entertainment. Iconography representing the abundance and promise of industrial modernism is reminiscent of a time when American optimism was specifically manifested in large-scale construction and the built environment.
$500.00
something in the snow
Oil on canvas, 2014, 80 X 70 cm. "I found a dimpled spider, fat and white, On a white heal-all, holding up a moth Like a white piece of rigid satin cloth - Assorted characters of death and blight Mixed ready to begin the morning right, Like the ingredients of a witches' broth - A snow-drop spider, a flower like a froth, And dead wings carried like a paper kite. What had that flower to do with being white, The wayside blue and innocent heal-all? What brought the kindred spider to that height, Then steered the white moth thither in the night? What but design of darkness to appall? - - If design govern in a thing so small." Design, by Robert Frost. 1922.
$1,530.00
bombing Milan
From the series "Code", oil and graphite pencil on paper, 30 x 30 cm. A map is an imprint, a sign of man in the landscape. An alien intelligence, observing our cities from the great distances of the space, could interpret them as the characters of an alphabet, sort of messages, a code of signs, each one different from the other, each with its own meaning and its own syntax. This hypothetical alien presence may not even realize that these cities have a purpose and a function, which are the product of the way we have adapted to live on this planet, but it could engage in an attempt to interpret this unknown language, identifying the alphabet and associating to each character a precise meaning. We will still be able to understand and share this new meanings, or will they have lost any sense for us? The idea of painting the bombed cities has born as a series inside the series. It comes from my direct experience; in fact, Turin was strongly bombed during the Second World War and the sign of that bombings still remains in some parts of the city, where the destroyed buildings haven't been replaced, leaving a hole in the urban tissue.
Withered tree / potatoes
from the series "Withered trees", oil and pencil on paper. 48 x 32 cm. The structure of a tree is simple and curious: some ramifications in the air to catch the light, some branching underground to pick up the food. But branches and roots are similar: both are developed linearly, until at a certain point, following an algorithm written in the genetic code of the plant, they split, bifurcate, or are tripled, growing in space with a progress which will be sensitive to obstacles of soil or climatic conditions of the place. The drawing of the bare branches and of the roots, flattened by the simplicity of a pattern in pencil, creates an embroidery, an imaginary warping which can be generated countless times, always different.
$340.00
berlin – tiergarten
From the series "Code", oil and graphite pencil on paper, 30 x 30 cm. A map is an imprint, a sign of man in the landscape. An alien intelligence, observing our cities from the great distances of the space, could interpret them as the characters of an alphabet, sort of messages, a code of signs, each one different from the other, each with its own meaning and its own syntax. This hypothetical alien presence may not even realize that these cities have a purpose and a function, which are the product of the way we have adapted to live on this planet, but it could engage in an attempt to interpret this unknown language, identifying the alphabet and associating to each character a precise meaning. We will still be able to understand and share this new meanings, or will they have lost any sense for us?
boston
From the series "Code", oil and graphite pencil on paper, 30 x 30 cm. A map is an imprint, a sign of man in the landscape. An alien intelligence, observing our cities from the great distances of the space, could interpret them as the characters of an alphabet, sort of messages, a code of signs, each one different from the other, each with its own meaning and its own syntax. This hypothetical alien presence may not even realize that these cities have a purpose and a function, which are the product of the way we have adapted to live on this planet, but it could engage in an attempt to interpret this unknown language, identifying the alphabet and associating to each character a precise meaning. We will still be able to understand and share this new meanings, or will they have lost any sense for us?
$340.00
kansas city
From the series "Big Code", oil and pencil on paper, 70 x 44 cm. When we consider a road map or a map of the territory we note that they contain different information that are represented by different means, according to the purpose for which they were created: each time we find colors, symbols and words that recall a precise meaning. What happens if I take these techniques of representation, these symbols, and take off the scope for which they were created and mingle them with each other? Read more
$550.00
Jamaica Resort
An aerial view of a resort with an open air hotel and its uniquely shaped pool. What I tried to achieve is to capture the moment, and lets the image tell the story about a this place, making the pool the main focus. I then tried to extract the graphic essence and use my color sensibility to pull the composition together.
$5,050.00
Bancroft Library
This is an aerial view of Bancroft Library in Berkeley, CA. The shadows suggest the time of day and add perspective to this campus without showing people. I extracted the graphic essence of the building, roads and trees and use my color sensibility to pull the composition together.
$3,800.00
NJ Water Park
A bird's eye view of a Water Park. The vivid colors and swirling shapes reflect the energy and joy associated with the youthful activities of water slides and landing pools. Flattening the picture plane the aerial perspective reduces the details to a strong graphic image. It combines elements of abstraction and representation, pattern and grid.
$4,950.00
