"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.
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."
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.
Twisted Horns on Exhibit
Chauvinist Trophy, severely twisted horns synthetic realism
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.
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. . .
Art and moral redemption: