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
Toile Bee II
This is from an on going series of examining bees and their different aspects. Also making a social comment through humor to be aware of our ever changing environment and the importance of the small creatures.
$275.00
4 Grues
"Japan, a fasciting but also disturbing country, is central in my work.Its complexity resides in the fact that it has various faces (art, gastronomy, tradition but also modernism) which blend with the numerous stereotypes of the japanese culture in western countries.In my paintings, I question the notion of strong but intouchable identity of the land of the Rising Sun by enlightening its numerous different caracteristics.Thus I use without distinction images of the "kawaii" culture and esthetic (which means cute), as much as images representing japanese tradition (geisha, engravings, origami, sushi), or urban tokyoit landscapes.I wish to emphasize the contrast of an ambivalent society: on the one hand a society that is deeply attached to an omnipresent culture and tradition, and on the other hand, a society that is constantly racing with technology and modernism. I express it with a very pure pictorial technique but full of details and clichés."
Pliages
"Japan, a fascinating but also disturbing country, is central in my work.Its complexity resides in the fact that it has various faces (art, gastronomy, tradition but also modernism) which blend with the numerous stereotypes of the japanese culture in western countries.In my paintings, I question the notion of strong but intouchable identity of the land of the Rising Sun by enlightening its numerous different caracteristics.Thus I use without distinction images of the "kawaii" culture and esthetic (which means cute), as much as images representing japanese tradition (geisha, engravings, origami, sushi), or urban tokyoit landscapes.I wish to emphasize the contrast of an ambivalent society: on the one hand a society that is deeply attached to an omnipresent culture and tradition, and on the other hand, a society that is constantly racing with technology and modernism. I express it with a very pure pictorial technique but full of details and clichés."
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.
