First time in Japan the past two weeks of Mid September. Have wanted to go to Japan since I was little. Remember being in Preschool/Kidnergarten and borrowing a book for children to learn Japanese from the Riverside Public Library—didn't get too far with that. Took 3 years of Japanese in college, twelve years after the fact the language skills were rusty but made due. Served as the group tour guide and interpreter. Loved every minute of it. There is something comforting about being over there. I love the feeling that I have to hurry everywhere when taking public transit or walking in the city streets because it contrasts so well with the countryside and the way the empty neighborhoods allow for a slower pace. I plan to go back for a longer stint as soon as possible. I only painted a few things while I was out there. I think an artist residency program would really be a boon to my painting practice. I definitely got the right amount of inspiration and energy to go forward with the new large scale paintings ill be doing in my new studio space. More on that in the coming weeks.
the signing of the treaty of shimonoseki;;;;
since I've been interested in paintings of interiors lately, this work strikes me with its details, patterns and colors. the flooring to the jade decals on the chairs, to the vase of flowers. this treaty signaled the end of the first sino-japanese war and a large sum of money transferred from china to japan. the other renderings of this scene don't capture the same essence of the atmosphere. . . to see this scene recreated would be amazing.
As part of Bernardo Hale Gallery's inaugural show, Artist & Residence, I am showing framed paintings and a large scale mural alongside two other artists, Carson Garhart and Severiano Martinez.
Mural, entitled The Inhabitants, and Mural Commendation installation view.
Gallery installation view. From left to right, Fernando Pó by Carson Garhart, Appropriated Propaganda by Michael Haight, and Mazdaznan by Severiano Martinez.
Appropriated Propaganda, 40 prints in an Edition of 4, by Michael Haight.
From top to bottom, GIB MIR MEHR KUNST! And Room 22 by Michael Haight
Grand Room by Michael Haight
Installation view of three untitled works by Michael Haight
Mural installation view
installation view of work by Carson Garhart (left) and Michael Haight.
Installation view of works by Severiano Martinez and Michael Haight.
Room 34 by Michael Haight
hard to say how much of what's in each study will go on to representation in the larger, fully- produced version. Why?
Conditions change immediately upon substrate. media comes to another playing field. compared to the paper of the study, Canvas(most likely) soaks up watery gouache and spreads outward unless it is primed with gesso.
Each is a product of portraiture. Each begins with an element of 1dimension and from there color becomes structure. Eyes ears nose mouth visage profile silhouette verbatim
Skin tone irrelevant Light source elegant Color vibrant Movement inherent
michael a haight 2 0 1 7
subject peering towards upper-left away from observer
languid pallid palette demonstrative of subject
Vibrancy of color mutates motion
All 12"x18" in d i m e n s i o n
Compositions in gouache and casein paints Old paper of illegible watermark worked by pen and brush; 5 hours on, still not dry details allied in settling as evaporation comes on.
Heart, Diamond, Vimalakirti, too Flower Glow Thus Come One
Diamond Heart Room
Recently I have been looking through old copies of Architectural Digest and finding inspiration from the work of Jean Michel Frank and the like. Some of these paintings are based on interiors I have found and reworked in different ways in terms of furniture design and palette. Each interior sets the scene for a character's interaction. In my sketch book I have done several sketches of small gatherings and interactions between strange-looking elites in these well-curated environments. The two interiors featuring murals are of my own design and composition. I have been interested lately in situating my own murals in fictional rooms as a way to hint at the grandiose nature an interior mural of mine will elicit in one's home.
A few more images from the video above. I came across Casein paint while at the art store the other day. It pairs well with gouache as seen in the portraits above. The first image, with one feminine and one masculine hand, comes from the scenes of traditional Victorian courting within F. Scott Fitzgerald's work This Side of Paradise. I suppose that could be a portrait of the protagonist Amory Blaine. The second is a continuation of portraiture that is non-gender non-ethnic specific. Body is Body.
Threatening Poses was an interactive piece that was part of #BeingPresentMafia in 2016 at Soze Gallery in West Hollywood...Read More
Insight into Michael Haight's photographic practice and selections of portraiture.Read More
Inspecting past experienceRead More
Selects from four rolls of lomography film floating between two 35mm cameras, a Ricoh Mirai AF and Canon AV-1, during the months of January thru August of 2016; Each image carries a gloominess strange to the southern california areas where these images occured; Pictured is an exhibition shot of a long painting I transformed into a small maze; These photographs fit spaces in need of sleepiness; photography is like Pokémon Go except there is no map and no one tells you what to find; A photographer who calls themselves a photographer is not really a photographer because a photographer does not maintain the notion of being a photographer, a personality, or a life;
Mezzanine floor, Ace Gallery Los Angeles, 2010
Parasitization: (n), of or relating to the acts of a parasite; attempting to suck success from the use of one's image who is already successful.
First in the series, this work parasitizes the crated sculptures of artist Carl Andre. During the performance, each block of Carl Andre's block-like work was positioned according to a defiant and outcropped plan much opposed to the low-lying and subtle pieces by Andre concurrently displayed at Ace Gallery Beverly Hills. This structure was further parasitized when the art piece was dismantled by artists Matt Weidmann and Bryan Kirkwood then converted into a "space-efficient plan."
For the next piece in the series, see Michael Haight's second parasitization work, 'John Millei,' in Poor / Fancy, 2013.
Appreciated being a part of the KPARK/Current:LA events happening in San Pedro's Point Fermin Park. Point Fermin is a former military installation and home to a disused Nike missle facility near 'the Sunken City,' and Terminal Island.
My proposed project for the event was entitled 'Plein Air Sans Eau.' I wanted to paint the landscape without water, so, during the weeks leading up to the event, I had to consider what was meant by painting the surroundings without water. At first it was a literal interpretation, painting the ocean as if it weren't there, brown and beige landscapes of the ocean floor. Then I learned the Earth is a closed system and the ocean water evaporating would hang like thick mist in the air. In my studio I made 12 sketches of a world full of fog in order to get some bearings on what that would be like. These sketches didn't seem too aesthetically appealing while at the same time they left no room for flora. Finally, I came to the conclusion that the 'sans eau' (without water) aspect of the plein air would not be from not using water to paint, or, by painting a landscape without water, rather, it meant painting a landscape without irrigation, without human-made landscaping and horticulture.
I decided to take in the surrounding geography and document several points of view of Point Fermin. While inserting native plants among empty swathes of landscape, I filled in weather patterns, seasonal light along with the specific flora.
A note on Flora:
Adding in choice flora rather than in situ flora created a fiction complicated by the irony of choice flora being native species. I learned from those I spoke to that the city and surrounding neighborhoods are introducing native plants to garden landscapes as a means to abate water use during the drought. They are finding that native flora thrive as well as attract native fauna—most notably native pollinators.
The resulting images come from painting Saturday(Jul232016) from 11am to 6pm and Sunday(Jul242016) from 11am to 3pm. The paintings are featured at the level of completeness achieved in the time present at the location. During my time there, I was able to discuss water issues, landscaping techniques, drought resistant plants, and I was able to stare at the landscape/paper. I set out painting 5 simultaneous paintings on Saturday then added two more on Sunday with a simple sketch towards the end. I took my attention from one painting to the next while waiting for one to dry. I chose watercolor and ink as my medium because of their use as traditional Plein air media. I noted a conflict between the urges to stick to the proposed concept and urges to initiate 'investigations of gesture' from the 'Worlds' series. You can see in the piece I gave away to young Oseino, that there were 'Worlds' series elements in the painting. I appreciate the fact Oseino chose that piece as his favorite. Shortly thereafter, he was seen with it grasped in his two hands as he skateboarded through the park.
I deem the endeavor a success because I did have a dialogue with those present about current water issues while conducting plein air paintings of the surrounding geography in a way that took water out of the equation—that water being that introduced by unnatural or resource depleting means. Through my work I found that a landscape left to its own devices with native, 'naturally watered' flora allows for a reduction of resource depletion and utility usage. Large scale decrease in unnatural landscaping is key to maintaining resources at all times, especially during those of drought.
On the topics of Postage, Ghost Galleries, and The Diamond SutraRead More
Reflecting on intonations via The GettyRead More
A study for another piece.Read More
When considering the midpoint of any line...Read More
I am always on the look out for materials that substitute for a canvas or panel. In this case, I am working with a table top I found behind a social club in West Hollywood.Read More
Dating from 1999-2003, this drawing was done on the inner-cover of a notebook. Noted are the gestures of both legible and illegible attempts at language...Read More
For this series the main artistic focus is the viewers ability to develop certain Points of View within the composition depending on how elements of the composition are focused/unfocused by the viewers' eyes.Read More