In-Between Years: At least twelve years separate these works from those listed as new on the New Works Page. Less than a decade separates these paintings from those listed below. Wielded Morbidity has a solid date of 2006.
Exit Wounds and Strategies 22" x 30" oil on canvas
iPebbles and The Toothpaste Slugs 12" x 16" oil on linen
Envelope of Meat 16" x 20" oil on canvas
Manacles of Milk 16" x 20" oil on canvas
Insoles and Injurious Army 16" x 20" oil on canvas
Wielded Morbidity 9" x 10" color pencil on paper
Pipe Cinch 6.75" x 10" pen and ink on paper
Return to Painting: I cannot say when I restarted painting after my extended, post-graduate lull. The few paintings presented at the end of the Portfolio pages comprised that inactive period, which continued through the early Nineties. I first exhibited with low-brow artists in 1998 at The Rico Gallery in Santa Monica, by which time I had made several works found on this gallery page. My slight reputation owed to an article featuring my work that appeared in Art?Alternative Magazine a year or two before that. None of the paintings here were in that article. All were earlier works seen in the Portfolio Pages.
The paintings below include all of the works shown in the two-man show (with Scott Musgrove) at La Luz De Jesus Gallery in 2002 in Los Angeles.There I met Robert Williams and compared notes. There has been no complete stoppage in my painting since this exhibition, although my work did slow to a trickle while I worked on my novel throughout the early Two Thousands, and also into the late-Two Thousands once I returned to musical composition. Presently I divide my time equally between all my activities, which is to say I work at a snail’s pace on everything I undertake.
Titles are supplied to works featured here but, regrettably, no other information. Fiber Optical was painted on linen, and was commissioned by an ad agency in Barcelona, Spain for Diesel Jeans in Milan, Italy. To my best knowledge, no other work of mine resides overseas. The rest of these paintings are on canvas. None are especially large, and a number are small.
Monsters: The monsters of my childhood in the Sixties were whimsical and improbable, whereas in today’s era of CGI, monsters appear to suffer the general disease of our time: scientific literalism. After the novelty of the realism wears off, the ad hoc imagination is left no corner into which it can flee and recuperate. My creatures aspire only to be impossible.
Spooks of The Eyestalk
Red Sushi Sleep
Table of Periodic Objects
Arcimboldo Ant Farm
Brussel Sprout Cheesecake
Nymphs of The Elbow
Kinderszenen und Gastropod
Lymph Node and Tar Baby
Brer Rabbit Recondite
Refried and Relinquished
Creeple Peeple Hulu
Pleasing Fungus Barbie
Green Bunny, Green Dinner
Oracle of Staplers
Withered and Rigid Dwarves
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