copyright Scari©2003
all rights reserved Scari.Org

Iconoclastic Iconography
a cacophony of isms; fertile ground for our genetic white noise to frolic.

Task at hand and the birds in the bush: With bureaus, caucasus, committees, forums, guilds and advocacies there is much to divert the intention of the arts from its primal (primary) task, ergo, describing and defining the human condition. . .

Catalogue description:

Michael Randles:

"Sequel to Tragedy of the Common, in the 5th International Shoebox Sculpture Exhibition

Bimbi Luboso's Right Foot directs the point of view to history not recorded, a narrative of fate self-organized and indifferent. Betrayal, ignorance and loss are metaphor in the cast and lot of humanity." Bimbi, head tracker for Lord Buford Mumford Autustine Tullyrill, was bound and his right foot severed when he refused to drive a herd of pachyderms within range of the Lord's campsite. Michael Randles remains on the testy edge of art and ideas. "Iconoclastic iconography is a task reduced to a cacophony of isms; fertile ground for the genetic white noise emanating from our vestigial tails to interrupt humanity's neural circuits while I, affectionately, still swing from the trees."


My interest is the paradox between the feeling of being human and the illusion that must be preserved: an aesthetic that relates to a once-unique condition now compromised by the tally. The cognitive need for growth and, of course, progress for its own sake is a remnant of our genetic white noise.
Artwork and text by Mike Randles
Frame by Tara Knight


At this juncture it's difficult to be a contributing social animal looking to a greater good, while well-funded competing self-interests field abundant paradigms to soothe a popular aesthetic. Social evolution (survival of the fittest) was not postulated to accommodate economics. I am convinced the artist is condemned to contribute to the greater sum total of the whole, balancing popular aesthetic, regardless of academic interference or "free market forces."
Artwork and text by Mike Randles


My work is a restructuring of the collision of isms (the supply of and demand for paradigms), bits and parts that make us who we are, where we came from and where it is we might well be going. I work within the human paradox: social/economic, environmental--psycho-sexual existential/metaphysical--growth and progress versus hope for the Earth.
Artwork and text by Mike Randles
Frame by Tara Knight


Severely Twisted Horns on Exhibit
Maxes Tavern, Eugene 1989 – 1992

Feminist Chauvinist Trophy, severely twisted horns – synthetic realism
severely twisted horn trophy
Randles happily explaining his work to one ot the petitioners; there
being a dispute over the concept of his severely twisted horn trophy.


Pop Culture and Too Many Fairies


Pop is the ongoing effort to scratch an unlocatable itch; a profound reason for the same old thing to be new--an urge that will not die. It is to wrestle a serpent whose head you will never see. In an imperfect world, kitsch will live forever; both art and life rely on business with its invisible hand to guide us through, and science will always be science.

Artwork and text by Mike Randles


ivory sculpture.jpg
common tragedy
scari thoughts


I am interested in paradox, conceptually, the obtainable ideal. If there are special little spots exposed in my effort it is an aesthetic, not style--the product of my need to express myself with material at hand: a shake-out between the ego and id. Delivering work driven by the human condition leads one in many interesting directions which, when folded and creased, presses to paradox; the obtainable ideal. . .
Artwork and text by Mike Randles


Moral Redemption

Art and moral redemption:
free speech cannot recover virtue. Does aesthetic equal sensibility, beauty, taste or is there an aesthetic of experience? The individual delivering an unvarnished attempt to describe the breadth of paradox is our first and last genre. Paradoxy gives rise to an infinite and confused aesthetic--Existential Epistemology.

helical coil