 |
|||||||||||||||||||||||||||||||||||
 |
|||||||||||||||||||||||||||||||||||
 |
|||||||||||||||||||||||||||||||||||
 |
|||||||||||||||||||||||||||||||||||
|
|||||||||||||||||||||||||||||||||||
|
Artist's Statement |
|||||||||||||||||||||||||||||||||||
|
I am a trompe l'oeil artist. I have found that by painting life-size illusions I can communicate with a very large audience. It seems almost universal that people take delight in being visually tricked. Once captivated by the illusion the viewer is lured to cross an artistic threshold and thus seduced into exploring the concept of the piece. I have also found that by creating architectural illusion that integrates both optically and aesthetically with the existing environment the art transcends the "separateness" that public art sometimes produces. |
|||||||||||||||||||||||||||||||||||
|
In the development of a mural I respond to different aspects of the location such as the architectural style, elements, and period, as well as the surrounding culture and heritage. Often I like to play with the art's context by contrasting these environments with another place and or time. This paradox or juxtaposition of environments transports the viewer from local reality into a new space. I also like to design the composition to unfold in layers so that the viewer may experience discoveries within the piece. While most of the time I respond to existing architectural settings I have also had the opportunity to take part in the development of the architecture itself, modifying the design of the structure to marry the painting to the site. This bridge between art and the architectural can effectively erase the transition point between reality and illusion. The art thus becomes integrated into the real world of architecture and lends credibility to the illusion of the painting. Together the sum is greater than its parts. More recently I have done paintings that are not necessarily specified for any particular location. These illusion pieces are less dependent upon site specific concepts, and are open to new and different directions. One example is a small series of trompe l'oeil paintings that explores the subject of plant life dismantling small Spanish mosaics. I find that this in between stage of nature reclaiming "art objects" is exotic, thought provoking, and fun visual play. Another examines a sense of discovery with secret garden niches that contain statues, plant life, and water features. And yet another series delves into life size door-illusions some opening into mysterious rooms. |
|||||||||||||||||||||||||||||||||||
 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|||||||||||||||||||
|
|
|||||||||||||||||||||||||||||||||||
|
Any software, images, webpages, text, and other materials that are made available to use, view, or download from the http://www.oasisofmurals.com are the copyrighted work of Michael Collins or Vickie Waite or are public domain as noted and cannot be used without express permission of either Michael Collins or Vickie Waite.. |
|||||||||||||||||||||||||||||||||||
