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Michael Linares b. 1979
Lives and works in San Juan Puerto Rico.



venus/bower bird 2013
c-print, frame
dimensions variable





Imprimación 2013
ten gallons of primer on canvas
72 x 96 inches


Plen Air, 2013
portable easel, drawing pad, sharpie, mini, helium, balloon
dimensions variable


prisma/girl, 2013
c-print, frame
dimensions variable



Untilted, 2013
level, canvas
24 x 42 inches


installation view




Negro, Amarillo, Rojo, Azul, 2013
acrylic on canvas
10x10 inches ea.


Ejercicio de color, 2013
12 min. video loop

Anaranjado, Violeta, Verde, Blanco 2013
acrylic on canvas
24x24 inches ea.


Pshy Self Portraits, 2013
Acrylic on canvas, wooden frame
42 x 42 inches

Pshy Self Portraits, 2013
Acrylic on canvas, wooden frame
31 x 22 inches


Pshy Self Portraits, 2013
Acrylic on canvas, wooden frame
31 x 22 inches

Pshy Self Portraits, 2013
Acrylic on canvas, wooden frame
31 x 22 inches


Pshy Self Portraits, 2013
Acrylic on canvas, wooden frame
31 x 22 inches


Pshy Self Portraits, 2013
Acrylic on canvas, wooden frame
31 x 22 inches


Insignificant, 2013
Linocut printed on handmade paper, wooden frame
23 x 20 inches framed (each)



Behind the Second Wall, 2013
Installation (Wood, paint, dry wall, nails)
Dimensions Variable


Installation Image (Behind the Second Wall)


Yo soy otro tu -Tu eres otro yo (I am another you, you are another me), 2013
Video Installation - Toulambis First Encounter DVD, black cotton cloth, TV
Dimensions Variable




Así las cosas (This being so)
2012, 33'x36'
black paint on museum wall
(at Bass Museum Miami, Fl.)












Above The Law
2012, variable dimensions
epipremnum aureum plant, helium, balloons, pedestal










Yet Untitled
2012, 96"x72"
acrylic on canvas
/ (1 of 1)

Untitled (triptych)
2012, variable dimensions (69” x 69” when together) acrylic on canvas,
stretchers
Paint Splatter #2
2012, 72” X 96”, acrylic on canvas
Paint Splatter is a series of ‘flat paintings’ that explore the accidental gestures and erratic behavior characteristic of the medium and the act of painting. The series aims to constraint the immediacy and out-of-control nature of the accident (splatter) with the intention of reflecting on the act of painting and painting itself as another medium among many, with no particularities or special characteristics beyond its materiality at the service of an idea.








Paint Splatter #1
2012, 72” X 96”, acrylic on canvas


Paint Spill (green)
2011, 54” x 54”, one gallon of green painting spilled on canvas
/ (1 of 1)

The Rags I Used to Clean The Brushes I used
to Paint The Paintings You'll Never See.

2011-200... , variable dimensions, acrylic on rags
/ (1 of 1)

Voyeur Painting (blank canvas)
2011, 12”x14”, acrylic on canvas, fake eyes
Voyeur Painting (action painting)
2011, 14” x 18”, acrylic on canvas, fake eyes
/ (1 of 1)

Untitled
2011, variable dimensions,120” diameter balloon, smaller room
Untitled
2011, variable dimensions, plywood, broom
Untitled (inertia)
2012, 24” x 24” x 6”, concrete, shoes


/ (1 of 1)

Untitled
2011, 84” diameter balloon, helium, multicolor penant's string
I’ve Been Around The World (proposal)
variable dimensions , marble statue, t-shirt
Wait Till it Grows (hammock)
2011 – 200… variable dimensions,hammock, soil, pot, palm trees


Blister in The Sun
2010, sound project, at University of Wisconsin’s carillon tower
During the first days of summer in 2010, I presented this work as part of a one week exhibition at the University of Wisconsin. The piece consisted in an audio intervention in which the local carrillon tower player interpreted the song “Blister in the sun” by the Wisconsin based band The Violent Femmes. The work was played everyday at noon for the duration of the exhibition.

Oasis / Inclusive Structure
2010, 100”x200”x200”, foam coolers, mounting tape, beers.

Invariably modern sculpture is both structure and way of production, as well as space and abstract form. These qualities may refer us to a methaphor of “ the industrial” , in wich the quality of construction, the craftmanship, the surface and the material are attached to a serial logic of multiples and replicas. As a coun terpart to this, different strategies came along with the intention to dismantle the constructed objectand disperse its fragment as an “explosion” , or bring the to a point of collapse, as an implosion. Contrary to all these manifestations that lie in both extremes of way of production, and ultimately exclude one another, Oasis / Inclusive Structure aims to prove the conflict generated by the struggle of opposed visionsin the production, creation and consumption of space.The piece consists of a pyramid, that uses cubic foam coolers as a basic unit, and ressembles Sol Le Witt’s Four-Sided Pyramid. The first rows of each side are full with cold beer that people can have for free. Whereas the beers are being emptied and left around, the sculpture adopts another form. Turning the beers and the people into the new sculpture and the pyramid the pedestal.This work reflects on its different components like a whole that questions and interrupts itself , making visible the caothic conditions in wich its parts coexist.
Pintura Perchero
2010, dimensions variable, stretcher, canvas,hanger
Trapped Idea
2010, 36”x10”x2”, fish net, light bulb
Snake Eating it’s Own Tail
2010, dimensions variable, water hose
A Tool on Eternal Vacation
2010, 14”x3”x2”, hammer, nail}

Paper Weight
2010, variable dimensions, paper, rock, invisible thread

Stuff
2010, 16”x20”, framed for sale sign
The Hole Idea
2010, dimensions variable, acrylic, wood canvas
Jamais Original
2009, 7”x48”x3”, neon sign
Jamais Original, uses fragment from Roland Barthes’s essay The Death of the Author (1967) in which he asserts that “the writer can only imitate a gesture forever anterior, never original.” The phrase was enlarged and manufactured as a neonsign, using the same language and font in which it was originally published. The tautological quality of this act reasserts the lack of relation between writing and creator.
You Never Asked Me to Be Perfect – Did You?
2009, dimensions variable, two modified wall clock
In his work Untitled (Perfect lovers) (1991) Felix Gonzales -Torres
places two identical synchronized clocks side-by-side. Over the time,these clocks inevitably, because things tend toward entropy, will fall out of sync. In You never asked me to be perfect-did you?, I recreated this work and modified it by inverting the direction of the clock hands. With this simple deviation I make an interpretation of Vladimir Nabokov’s famous quote about time and entropy, in which he said that “ The future is but the obsolete in reverse.”
Partial Truth
2009, 14”x24”x12”, engraved stone
What Does it Say To You?
2009, 30 min., video loop
In What Does It Say To You , I used a sequence of Herbert Ross’s film Play It Again Sam (1972) where the character interpreted by Woody Allen approaches a woman in a museum while she contemplates a painting by Jackson Pollock. Allen asks for her interpretation of this work; the woman replies by reading the painting through her existential crisis. Watching this exchange from the perspective of the painting looking into the gallery space,the spectator becomes a voyeur of his own condition.

Against The Reproduction of Death
2009, 12”x16”, acrylic on canvas
Oasis (green)
2006, Wood, cooler, beer cans
2’ x 5’ x 5’
Oasis (NYC)
2006, Wood, cooler, beer cans
2’ x 5’ x 5’
Oasis, is a series of minimal sculptures stuffed with beer. It criticizes the seriousnessor solemnity that adds the pedestal to the art object in the modern era. It is rather a meeting point, an exchange of ideas among spectators, and an area for recration and relaxation. As the public leaves the scene a sculpture is improvised on he pedestal as a record of their stay. They also serve as seats. I like to think of it as my version of The Trojan horse.
Robo de Chicles/ Stealing Gum
2005, 10 C-Prints, 5” x 7”.
Receipts, gum packaging, certificate of robbery
Robo De Chicles. I went to a Wal-Mart store in Puerto Rico and stole a package of chewing gum, while a friend with a hidden camera took pictures of the event. Then I left the store for about a minute and came back to print the pictures at the one hour photo-lab of the store. This work adresses the issue of the authenticity of photograph as a document of reality and deals with the process in which an object receives myth qualities before it becomes art.

Wait Till it Grows
2005- 200… soil, pot, tree.
Variable dimensions.
Wait Till it Grows and Seat Underneath
2006 – 200… soil, wood, tree.
Variable dimensions
Wait Till It Grows, is a series of assemblages that show my concern about extending the real time of my work and increasing its ability to transform. For this series I used animated and inanimated materials, suggesting that the transformation of the pieces is intimately related to the natural developement of its elements.I want the people to think about the future and the possibility of this piece.

Wait Till it Grows (swing)
2007 – 200… tree, pot, wooden swing.
Variable dimensions.
Wait Till it Grows (hanging bridge)
2007 – 200… wood, rope, trees.
Variable dimensions.


Wait Till it Grows (tree house)
2006 – 200… wood, rope, tree.
Variable dimensions
El Hombre que Sudó en Forma de Corazón /
The Man Who Sweated a Heart Shape

2005, C-Print, 8” x 10”
El Hombre Que Sudó en Forma de Corazón, is a color photograph of San Juan's art school janitor who miraculously sweated a heart shape through the front of his gray T-shirt.
Corazón Bounty, is a series of photographs and a video of a truck that I bumped into while driving on a highway, loaded with Bounty paper towel wraped in a way that when the wind blew through it, simulated a heartbeat. Both pieces where found coincidently. They are what I call aesthetic accidents that somehow prove the idea that art sometimes is a given object.
Corazón Bounty / Bounty Heart
2004, 19 min, video loop, still.
Corazón Bounty / Bounty Heart
2005, C-Print, 14” x 14”.
My Height
2003, neon tube, electrical wire, power adapter,
variable dimensions
 
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