In Dreams (2017-)

In Dreams- multi-layered/dimensional painting collages on wood that join "non-fictional" physical depth, dimension and shadow/light with the painted "fictional"--vessels for capturing the coexistence of the "real" and the "unreal" within my dreams and the notes I write down when I awaken from said dreams.

Snitches Get Stitches, 30" x 30" x 1", Acrylic and Flashe on Hand-built Multidimensional Wooden Panel.

O.L.L.A., 2017,  30" x 30" x2"", Acrylic, Enamel, and Flashe on Multidimensional Layered Panels

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

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

Ruby Falls, 2017,  40" x 14.5" x 4"", Acrylic, Enamel, and Flashe on Multidimensional Layered Panels

Betwixt (2016-)

Landscapes and interiorscapes guided by the energy--sounds, vibrations, light--within and surrounding my living and working environments. A meditative multi-staged/process series, beginning with photographs through my windows and doors/ceilings to floors, which are then stripped down to simple line drawings that serve as templates for cutpaper reinterpretations. I then chop up the paper collages and reassemble to represent the waves of dizzying joy or irritation I experience--creating a reference for a forth iteration in paint. Select compositions from the process are kept, others are recycled.

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 SOLD- PRIVATE COLLECTION

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

SOLD- PRIVATE COLLECTION

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

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

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 SOLD- PRIVATE COLLECTION

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

SOLD- PRIVATE COLLECTION

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

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

SOLD- 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-)

Delenticulated Portraits- interdimensional experimental process of trapping and conveying the vibrating kinetic energy of my 3-dimensional works and their subjects within a 2-dimensional plane. These pieces could not exist without the 3-dimensional precursor composition...what is what?

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 SOLD- PRIVATE COLLECTION

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

SOLD- 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

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

 

LPs: Lenticular Portraits (2014-)

'LPs' (Lenticular Portraits)- Abstracted portraits of acquaintances based on the order, patterns and contents of their record collections. An intensive process that merges my interest in portraiture, sculpture, woodworking, music, stripes, lenticular motion, and the discovery of personalities through possessions and organization. Each piece was created and guided by listening to only music contained within the original reference collections—an unpredictable variable that strongly influences my subconscious selection of color and brush control. The compositions shift and move with the viewer, as the colors merge, fracture, weave, and "vibrate"--vessles meant to capture and transmit the energy of the subject.

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

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

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

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

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

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

live/work (2015- )

When alone, my mind wanders into other spaces, dimensions and time. Paper + razor blades + elbow grease.


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).  sound collage by the artist. 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 crucuial 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

Pieces currently available at San Francisco-based fashion site, TheRealReal


#3Dpals (2014- 2015)

For 1 week in May 2014 and again in May 2015, I reached out to the cyber-ethers via instagram and invited anyone to tag one of their pictures with "#3Dpals". For each "tagged" image, I spent 6min quickly sketching/rearticulating in red and blue ink to create a frenetic "3D effect". All originals were mailed to each individual with a pair of 3D glasses, as a way to ensure that anyone can own a piece of art regardless of budgets and/or art world savvy . A zine compiling the process and results will be released soon.


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.


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


father + child (2011-12)

Exploring the beautiful relationships that grow between fathers (that I never could picture as fathers) and their new children.


good times (2011-12)

Creative and inspiring individuals, caught in fleeting moments


sketchbook situation

All images © Michael Hambouz 2017