Ryan McMullan (°1982, Edinburgh, United Kingdom) is an artist who works in a variety of media. In a search for new methods to ‘read the city’, McMullan focuses on the idea of ‘public space’ and more specifically on spaces where anyone can do anything at any given moment: the non-private space, the non-privately owned space, space that is economically uninteresting.
His artworks bear strong political references. The possibility or the dream of the annulment of a (historically or socially) fixed identity is a constant focal point. By taking daily life as subject matter while commenting on the everyday aesthetic of middle class values, he uses a visual vocabulary that addresses many different social and political issues. The work incorporates time as well as space – a fictional and experiential universe that only emerges bit by bit.
His works are characterised by the use of everyday objects in an atmosphere of middleclass mentality in which recognition plays an important role. By demonstrating the omnipresent lingering of a ‘corporate world’, he often creates work using creative game tactics, but these are never permissive. Play is a serious matter: during the game, different rules apply than in everyday life and even everyday objects undergo transubstantiation.
His works demonstrate how life extends beyond its own subjective limits and often tells a story about the effects of global cultural interaction over the latter half of the twentieth century. It challenges the binaries we continually reconstruct between Self and Other, between our own ‘cannibal’ and ‘civilized’ selves. By merging several seemingly incompatible worlds into a new universe, his works references post-colonial theory as well as the avant-garde or the post-modern and the left-wing democratic movement as a form of resistance against the logic of the capitalist market system.
His works are often about contact with architecture and basic living elements. Energy (heat, light, water), space and landscape are examined in less obvious ways and sometimes developed in absurd ways.
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Brittish(jesreal Confidence Shedrack) Jesreal
Dark'ness Dementia Raven Tara Way Ebony
De Torres Y Sandoval Ramón Argila
González Rojas Adriana Marcela
Hernández Hernández Alejandro José
Himmelsbach De Vries Domenique
International Resource Center For Art Cairo
Junior Dope Lord Illuminati Lives
Manuj Protim Saikia Manuj Protim Saikia
Patagonia Jakarta Moonflower Nine Eleven Superscript One Cecelia
Patil (inspirational Speaker) Rakxit
Patricia Smyka Fathermoonandme
Payanene Velasquez Junior Haminton
Plasencia Magdaleno Juan Moisés
Plasencia Magdaleno Juan Moisés
Plasencia Magdaleno Juan Moisés
Plasencia Magdaleno Juan Moisés
Plasencia Magdaleno Juan Moisés
Rodríguez Briseño Gustavo Daniel
Türkiye Lgbtİ Birliği Lezbiyen, Gey, Biseksüel, Trans, İnterseks, Eşcinsel
Vanto Dumisani Vanto Dumfiasco
Vishva Naedurana Pathirannehelage
His Works Are Saturated With Obviousness, Mental Inertia, Clichés And Bad Jokes. They Question The Coerciveness That Is Derived From The More Profound Meaning And The Superficial Aesthetic Appearance Of An Image. By Parodying Mass Media By Exaggerating Certain Formal Aspects Inherent To Our Contemporary Society, He Tries To Create Works In Which The Actual Event Still Has To Take Place Or Just Has Ended: Moments Evocative Of Atmosphere And Suspense That Are Not Part Of A Narrative Thread. The Drama Unfolds Elsewhere While The Build-up Of Tension Is Frozen To Become The Memory Of An Event That Will Never Take Place.
His Works Are Given Improper Functions: Significations Are Inversed And Form And Content Merge. Shapes Are Dissociated From Their Original Meaning, By Which The System In Which They Normally Function Is Exposed. Initially Unambiguous Meanings Are Shattered And Disseminate Endlessly. Goobs Wooster Currently Lives And Works In Solvang.
## %# Rosado Mike