Educación sentimental para la niña de tus ojos

Michael Peck


La práctica artística de Michael Peck tiene que ver con la sensación de desorientación y desarraigo que a menudo se sufre en el mundo post-moderno. Explorando cuestiones relativas a la pérdida de identidad cultural, su trabajo se centra especialmente en sus efectos dentro de grupos minoritarios y en las personas que desde lo marginal se enfrentan al reto de encajar dentro de la comunidad en general.
Doctor Ojiplático. Michael Peck. Ilustración | Illustration

Doctor Ojiplático. Michael Peck. Ilustración | Illustration

Doctor Ojiplático. Michael Peck. Ilustración | Illustration

Doctor Ojiplático. Michael Peck. Ilustración | Illustration

Doctor Ojiplático. Michael Peck. Ilustración | Illustration

Doctor Ojiplático. Michael Peck. Ilustración | Illustration

Doctor Ojiplático. Michael Peck. Ilustración | Illustration

Doctor Ojiplático. Michael Peck. Ilustración | Illustration

Doctor Ojiplático. Michael Peck. Ilustración | Illustration

Doctor Ojiplático. Michael Peck. Ilustración | Illustration

Doctor Ojiplático. Michael Peck. Ilustración | Illustration

Doctor Ojiplático. Michael Peck. Ilustración | Illustration

©Michael Peck website
Via emptykingdom
Michael Peck’s artistic practice is concerned with the sensation of disorientation and dislocation that is often felt within the post modern world. Exploring issues regarding the loss of cultural identity, his work particularly focuses on the effects within minority groups and individuals existing on the fringe who are challenged to assimilate within the larger community. 
The scenes in Michael’s paintings are quiet, the participants are paused as they stand withdrawn, juxtaposed against a dynamic population; they are overwhelmed by mass-culture; one which has been composed from the interaction, assimilation and constant change of subcultures. His work looks at the place of the individual within a pluralistic society where a constant shift of values and beliefs leaves a great uncertainty of belonging.

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