I've known Michael Arcieri since 2001, when I began as an intern at the now defunct Gomez Gallery. I became aware of his talent for painting after he returned from a brief hiatus in Scottsdale, Arizona. Normally I would offer at least one tidbit of constructive criticism for artwork (not because I know everything, but because much like my own work, there is always room for refinement or evolution). However, Michael has his own carefully developed discernment and inner critic that keeps him at the top of his game. That is a nice way of saying that he is way too hard on himself, but for him, it works. In 2005, he left Baltimore for his hometown of Houston, Texas, taking with him his unmatched skill in avant garde realism painting and impeccable cultural taste.
For years, Michael has been refining his craft under the tutelage of established artists such as Patricia Whitty and Spanish contemporary painter Salvador Bru. He has mastered the old standards of still life compositions and added his own twist: origami swans "floating" on a blue book titled Lakes of the World, a house of stacked Tarot cards, wine corks nearly tumbling out of the mouth of lab beaker, and voodoo relics from his life in New Orleans.
By the time he was ready to leave Baltimore, Michael was developing a new line of work that combines his mastery of realism with postmodern subject matter. His interest in film noir, art history, and the urban art of tagging have coalesced to create an intelligent dialogue. My current favorite of these new works, De Kruising, is one of those paintings that is at first compositionally striking (I'm a sucker for verticals). When you finally acknowledge the content, you see that it is rich in references to other art forms: literature, film, graffiti, and back again to fine art. Translated into Dutch, "de kruising" means a crossing, or an overlap. Looking at the headless woman walking into a body of water, I recall reading The Awakening by Kate Chopin in high school--the protagonist, Edna, walks to her drowning death in the ocean, preferring to feel her freedom amidst the waters instead of living with a husband that is unable to cope with her modern role as a woman in the late 1800s.
The words "The End" in a font reminiscent of old movies and sock hops decapitates the woman in the painting. At the bottom, "Is Near" completes the creepy cliched phrase. I don't know what Michael's interpretation of this painting is (I'll have to ask), but I am captivated by its ability to express such beauty and yet leave me with a chill.
The two paintings featured in this post, Corks and De Kruising, are for sale by the artist. Limited edition prints of Corks are also available. Please contact me for more information. De Kruising will be a part of a group exhibition at the R. Corey Art Gallery in Laurel, MD. Dates, times, and location information will be forthcoming.
**updates** 6.5.08
I just received an email from Michael that explains his intentions behind De Kruising:
"De Kruising was created specifically for the exhibit at The Jung Center in Houston, on exhibit until January 30th, 2008. The painting represents the intersection, or the crossing of where I am, in coping with the burden of realism and letting go of that overly controlled and detailed style, allowing other creative influences to determine the outcome of a work."
75” x 50” acrylic and oil on canvas. 5500.00
All images copyright Michael Arcieri, 2008.
