In Dreams (2017-)

Exploring the collision of real and familiar spaces, places, and objects with those of the unreal as observed in day/night dreams

  Why Use a Screwdriver When You Have A Perfectly Good Hammer? , 2018, 24-ish"x30-ish"x3", Acrylic, Enamel, Flashe, Paper, Wood, Hammer, and Shadows on Panel

Why Use a Screwdriver When You Have A Perfectly Good Hammer?, 2018, 24-ish"x30-ish"x3", Acrylic, Enamel, Flashe, Paper, Wood, Hammer, and Shadows on Panel

  T.D.M. , 2018, 31.25" x 25" x 3", Acrylic, Flashe, Paper, and Shadows on Layered Multidimensional Panels

T.D.M., 2018, 31.25" x 25" x 3", Acrylic, Flashe, Paper, and Shadows on Layered Multidimensional Panels

  Last Smoker's Lounge Left in Town , 2018, 36"x40", Flashe on Panel

Last Smoker's Lounge Left in Town, 2018, 36"x40", Flashe on Panel

Stitch Witchery, 2017, 30" x 30" x 1", Acrylic and Flashe on Multidimensional Panel

More or Less In Tents, 2017, 18" x 18" x 1", Acrylic, Enamel, and Flashe on Multidimensional Panel.

Snitches Get Stitches, 2017, 30" x 30" x 1", Acrylic and Flashe on Multidimensional Panel.

PRIVATE COLLECTION

O.L.L.A., 2017,  30" x 30" x 4.25", Acrylic, Enamel, and Flashe on Layered Multidimensional Panels

  Geist Zeit , 2017, 30" x 30" x2.5"", Acrylic, Enamel, Flashe and Cut Paper on Layered Multidimensional Panels

Geist Zeit, 2017, 30" x 30" x2.5"", Acrylic, Enamel, Flashe and Cut Paper on Layered Multidimensional Panels


Palette Cleanser (2017-)

Repainted collages of select ghouls and goblins discovered lurking in my paint palette at the completion of other paintings.

  Unsafety in Numbers , 2017, 36" x 40", Acrylic and Flashe on Panel

Unsafety in Numbers, 2017, 36" x 40", Acrylic and Flashe on Panel

Auscpicious Beginnings, 2017, 22.25"x24", Acrylic and Flashe on Panel (a closer look, below)

Betwixt (2016-)

Architectural renderings of escape routes created to manifest positive changes in living environments

  Never My Love , 2017, 36"x40", Flashe on Panel

Never My Love, 2017, 36"x40", Flashe on Panel

  Out Through the Indoor , 2016, 36"x40", Flashe on Panel  PRIVATE COLLECTION

Out Through the Indoor, 2016, 36"x40", Flashe on Panel

PRIVATE COLLECTION

  Unholy Stryper , 2016, 24"x22.5", Flashe on Panel  PRIVATE COLLECTION

Unholy Stryper, 2016, 24"x22.5", Flashe on Panel

PRIVATE COLLECTION

  Unholy Houses of the Holy , 2016, 30" x 30", Flashe on Panel

Unholy Houses of the Holy, 2016, 30" x 30", Flashe on Panel

  (F.Y.T.,) Tina , 2016, 30" x 30", Flashe on Panel  SOLD- PRIVATE COLLECTION

(F.Y.T.,) Tina, 2016, 30" x 30", Flashe on Panel

SOLD- PRIVATE COLLECTION

  Got Kinda Lost , 2015, 30" x 30", Flashe on Panel  PRIVATE COLLECTION

Got Kinda Lost, 2015, 30" x 30", Flashe on Panel

PRIVATE COLLECTION

  Thumbs Off , 2015, 30" x 30", Flashe on Panel  PRIVATE COLLECTION

Thumbs Off, 2015, 30" x 30", Flashe on Panel

PRIVATE COLLECTION

  Room for Storage , 2015-17, 9.5" x 9.5", Cut Paper on Cut Paper on Cut Paper

Room for Storage, 2015-17, 9.5" x 9.5", Cut Paper on Cut Paper on Cut Paper

  Less in Tents , 2015-17, 12" x 12.5", Cut Paper on Cut Paper on Cut Paper

Less in Tents, 2015-17, 12" x 12.5", Cut Paper on Cut Paper on Cut Paper

  Untitled , 2016, 10" x10", Cut Paper on Cut Paper on Cut Paper

Untitled, 2016, 10" x10", Cut Paper on Cut Paper on Cut Paper


Delenticulated Portraits: (2016-)

2-dimensional rearticulations of my 3-dimensional lenticular portraits (see below); experiments in trapping kinetic energy and multidimensional form.

  Which Witch? , 2016, 36"x40", Flashe and Enamel on Panel

Which Witch?, 2016, 36"x40", Flashe and Enamel on Panel

  Use Your Illusion III , 2016, 25" x 31.25", Cut Paper on Paper on Paper

Use Your Illusion III, 2016, 25" x 31.25", Cut Paper on Paper on Paper

  Use Your Illusion IV , 2016, 21" x 25.75", 9 color screenprint on Coventry Rag 290gsm Edition: 50 + 0 artist's proofs and 0 printer's proofs, published and printed by  Kayrock Screenprinting    Limited quantities available here

Use Your Illusion IV, 2016, 21" x 25.75", 9 color screenprint on Coventry Rag 290gsm
Edition: 50 + 0 artist's proofs and 0 printer's proofs, published and printed by Kayrock Screenprinting

Limited quantities available here

  In Your Nature , 2016, 24"x36", Flashe and Enamel on Panel

In Your Nature, 2016, 24"x36", Flashe and Enamel on Panel

  Maximumly Overdriven , 2016, 36"x40", Flashe and Enamel on Panel

Maximumly Overdriven, 2016, 36"x40", Flashe and Enamel on Panel

  Untamed Side Pony , 2016, 24"x22.5", Flashe and Enamel on Panel  PRIVATE COLLECTION

Untamed Side Pony, 2016, 24"x22.5", Flashe and Enamel on Panel

PRIVATE COLLECTION

  Could've Been Here , 2016, 36"x40", Flashe and Enamel on Panel

Could've Been Here, 2016, 36"x40", Flashe and Enamel on Panel

  Staticky Age , 2016, 20.5"x21.25", Flashe and Enamel on Panel  PRIVATE COLLECTION

Staticky Age, 2016, 20.5"x21.25", Flashe and Enamel on Panel

PRIVATE COLLECTION

 

LPs: Lenticular Portraits (2014-)

Kinetic 3-dimensional portraits of individuals based on the patterns of their LP collections and the sonic energy and guidance of the music contained within.

Float On, 2016, 48"x72"x1", Acrylic, Enamel, and Flashe on Multidimensional Panel

 Greyer Shades of Pale, 2017, 30" x 30" x 1", Enamel and Flashe on Multidimensional Panel

Greyer Shades of Pale, 2017, 30" x 30" x 1", Enamel and Flashe on Multidimensional Panel

Angles of the Morning, 2016, 48"x60"x1", Acrylic, Enamel, and Flashe on Multidimensional Panel

Broken Records, 2016, 48"x60"x1", Acrylic, Enamel, and Flashe on Multidimensional Panel

13 Uneasy Pieces, 2016 16.5" tall, 42.5" tridecagon circumference Acrylic, Enamel, Flashe, Wood, Motor, Electricity

Ghosted (2015- )

Weird shit sometimes happens just in the corner of my periphery, just for a moment...and then I document it.


factory made (2014)

For the Factory Made series, I hand-cut paper stock from independently-owned, family-run French Paper Company to create vibrant, abstracted scenes of the very factory where the paper is produced. The series provides a glimpse into the operations of the 140-year-old American paper mill by showcasing the production process and machinery—from pulp to the final paper product—in intricately layered collage format.

The subject matter is of particular resonance to me, growing up within a mile of the factory, and investigating it as a means to reconnecting with my hometown of Niles, Michigan following the death of my mother in 2012. I found artistic inspiration in the factory and its paper—providing a departure from my previous works in acrylic paint. The resulting series celebrates small manufacturing and a geographical sense of home.

In 2015, the Krasl Art Center of St. Joseph, MI commissioned a time-based media piece to accompany the cut-paper works for my solo exhibition of Factory Made (Jan 29- April 24, 2016). The video is an animated reinterpretation of the cut-paper pieces from my Factory Made series w/ accompanying sound collage--creating a virtual, voyeuristic tour of the factory and the processes from which the paper is made.

Special thanks to The Krasl Art Center, Jason Forrest Hogg, Jonathan Rauberts, Jerry & Brian French/French Paper Company for crucial support and technical assistance in helping to see this project to completion.

For best audio results, please listen through headphones/soundsystem to feel the lower frequencies and the rumble. And for best video results- project HUGE onto French Smart White paper. 

 

FACTORY MADE PRESS

Design Milk

Inhabitat

How Design

South Bend Tribune

Greenpoint Gazette

Niles Daily Star

Greenpointers


pattern recognition (2014-)

Ink on paper experiments with colliding colors, patterns, depth and hidden narritives within domestic living spaces


analog gifs (2013- )

Left, center, and right view detail

Left, center, and right view detail

Inspired by crude flip books I drew in the back of my school bus and magic of lenticular images that I discovered through Sportsflics baseball cards and Crackerjack prizes as a child, this series is sculptural and animated—“analog gifs” of sorts. This work provides an interactive experience for the viewer as the compositions shift with movement as the viewer’s perspective shifts—a tool that I use as a means to relay dynamic motion and the passing of time.


collaborative culture (2012-13)

collaborative culture is a portrait project highlighting the significance of collaborative roles necessary to create, support, and sustain the arts. The selected subjects all contribute unique talents and expertise in their fields and embody the spirit of this project.

In preparation for each portrait in this series, I required subjects to reveal obsessions, muses, and secrets through a mandatory questionnaire, which I then used to build preliminary compositional concept sketches with embedded personal symbolism. I collaborated with a photographer and each subject, to co-art direct a “film set” to shoot reference photographs for the final painted portrait. Throughout the painting process, I listened only to the subject's favorite music—an experience that brought me closer to the subject, and in a sense allowed the subject’s hand to help guide, subconsciously, each brush stroke and pigment selection.

This series was presented at the Brooklyn Academy of Music's (BAM) Diker Gallery Feb-March 2013.  20% of every sold piece was donated to BAMart and Pratt Institute endowed scholarship funds.


wild kingdom (2012)

Animals have never been impressed with my want to be smart, to be successful, to be respected, or to be loved. Their love is seemingly unconditional—they are not impressed with narcissistic pursuits. In many ways they succeed where human’s stumble. Painted at a time when I needed to take a break from media.


the world’s smallest paintings of the world’s largest things (2012-13)

Since the age of 6, I have been fascinated by the Guinness Book of World Records, obsessively leafing through and scanning over every page, learning every fact, and memorizing every otherworldly image. My continued fascination with these larger than life record holders and my interest in making the biggest impact with very small canvases served as inspirations for this series. And until someone dares challenge me, these are currently the world’s smallest paintings of the world’s largest things.

I was only able to secure the collaborative support of 2 record holders that I reached out to…thus, this is now the World's Smallest Series of the World's Smallest Paintings of the World's Largest Things

Piece #2 is currently available through Calico Brooklyn


Foreign Objects (2011-12)

Old Friends with new family.


good times (2011-12)

Fleeting moments de-fleeted


All images © Michael Hambouz 2018