My practice explores and dissects psychological fantasies of power and identity. In particular, I am interested in the ways in which Western Society constructs a history and a basic identity for a mass culture, as well as the way those ideas have seeped into the private perceptions of the self. In my work I create a world in which the fantasies and clichés of the western world can combine and breed, creating a hyperbolic landscape peopled with a society lost in their own myth.
Digital Art, Iconographic Kitsch
My work explores alternative materials and modes of distribution in order to offer incisive commentary on our common cultural milieu. This shared conceptual foundation unifies the variety of media and visual styles within my body of work. Working in digital media and online has tremendous power to reach broad audiences outside of art institutions. Graffiti holds the same promise for a completely different kind of audience, while also uplifting and reclaiming derelict sites. Comic books, illustration, and other forms of sequential art are accessible and readily reproducible media free from connotations of high art exclusivity. Styrofoam Halloween decorations, garden gnomes, tawdry underwear, and airline safety information cards are mainstream vehicles of cultural meaning and irresistible candidates for the détournement that underlies my entire art practice.
The artistic practice of Lauren Norby spans genres and media, but continually revisits themes of humor, entertainment, and narrative, while posing critical questions about the nature of art and art-making.
From McMansions to cul-de-sacs, my paintings investigate the eerie aspects of suburban culture starting with the home. The homes in my paintings act as metaphors for stability. Portraits of people whose stories are sometimes harmless and playful while others evolve into something more sinister. My paintings engage in an ongoing dialogue between abstraction and representation where the landscapes invert the suburban home, leaving the viewer a shameless voyeur in the world of each painting.
Raymond Uhlir regurgitates the cartoons and art historical influences of his youth, hoping to create a context for his work that allows it to communicate to those of us who experienced our first tastes of visual culture in Technicolor motion.