Boojazz
Painting for almost two decades, much of Michael’s work involves coming to terms with the abundance of technology-driven information overload we casually experience in modern day society. He uses acrylics and india ink on canvas (or wood panels) to create a post-modern world that visually represents data in its raw form, existing within multiple theoretical dimensions of spacetime. The thematic visual focus rests on the intricacies of the direct and indirect interaction between the viewer and the abstraction of this data-driven internal conflict which forces us, as a society, towards rapid self-actualization.
Michael’s current work starting in 2014 continues the visual analogy of civilization coping with Moore’s Law through the lens of the subconscious. Distorted handwritten notes and encrypted keyword ciphers are interwoven throughout mysterious structures and various abstractions including comic illustrations and other non-specific futuristic forms. The result is a data-landscape of today’s anxious subconscious mind, presenting how we remember life events and interpret the kinetic surfaces and essences of the environment and emotions that we are sometimes reluctantly embedded within.
Michael’s current work starting in 2014 continues the visual analogy of civilization coping with Moore’s Law through the lens of the subconscious. Distorted handwritten notes and encrypted keyword ciphers are interwoven throughout mysterious structures and various abstractions including comic illustrations and other non-specific futuristic forms. The result is a data-landscape of today’s anxious subconscious mind, presenting how we remember life events and interpret the kinetic surfaces and essences of the environment and emotions that we are sometimes reluctantly embedded within.
