The work of Brian Michael Dunn sits somewhere between pattern and decoration, pop-art, and anthropology: Dunn starts by collecting patterns, textures, and motifs from such disparate sources as advertising, comics, packaging, early modernist textiles and quilts, and weaves them together to create spectacular, dazzling compositions that overwhelm the senses with their masterful complexity. Layer after layer, each affecting the one before it: a layer of waves, followed by a net texture, sprinkled with flower and quilting motifs, the eyes become trapped within all the moire patterns and interference that result from such a process. Interested in our collective daily visual experience, the elements Dunn plays with are all too familiar: ben day dots that reproduce images in comics and newspapers; flat graphics favored in advertisements and shipping decals; intricate patterns in fabrics, wallpaper, and botanical illustrations. Dunn is curating his palette from our peripheral experiences, borrowing from things that we see but do not necessarily look at with intention: the visual background noise of our day to day lives, giving us a chance to recognize our own patterns of behavior when it comes to our most favored sense—sight.
This piece was about the posture of the person and how it connected to a natural element like green leaves.I elongated the neck to give the figure a bird-like quality and softness. I enjoy letting the watercolor bleed and move on its own and then I go back in to add structure. Shereene Fogenay was born […]
A “holy” portrait of being a modern day artist and performer in Las Vegas. Over the course of the nearly 11 minute video loop, Heidi transforms in and out of being Elvis from inside a neon shrine. The sculpture is about identity, performance, transformation and the labor that goes into being an artist.