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| 9/15/2003: |
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Mark
Ryden "paints high atop a magic castle in Pasadena . . .,"
according to the artist's press bio, "among his many trinkets,
statues, skeletons, saints and old toys that he collects for inspiration."
A star of the Juxtapoz/lowbrow/whatever scene, Ryden's work has tended
to the horror vacui typical of many lowbrow practitioners, cramming
his smallish canvases with a phantasmagoria of creepy, big-eyed children,
medical objects, terrycloth bunnies, effigies of Abe Lincoln, and various
cuts of meat. This everything-including-the-kitchen-sink strategy, while
inevitably entertaining on some level, often exposes how little craft
or content an artist actually has in their repertoire.
Ryden
has managed to avoid this pitfall by treading a fine line between nostalgic
cliché and disturbing archetype, and working obsessively through
a magnifying lens to manifest the otherworldliness of his visions in
the impossibly detailed and meticulously glazed surfaces of his painted
panels. There is something of an arrested adolescence in Ryden's work
- in its content, which oscillates between aching over lost innocence
and stupefaction at the revelation of personal mortality, but also in
its technique, which takes the shibboleth of getting it right to vertiginous
extremes. Small wonder he's become a hero to the modernism-despising
illustrational set, who measure artistic validity by the illusionistic
persuasiveness of receding checkerboard floors and gathered brocade
drapery. |
| - Doug Harvey, LA Weekly |
| Selected
Comments: |
| The turnip refused
to squeal out or show any sign of pain |
| ART! |
| (42 Votes- 86% Art, 14% Porn) |
| Art or Pornography? Your Homepage! |