Airborne dust and ash sediment collected during July and August 2016 California wild res, acrylic matte medium, milled pine, clear pushpins, white titanium gesso, 10oz cotton duck canvas
135″ x 96″ x 10″
Iain Muirhead (American, born in Detroit) seeks possibility in a world of massive change. His work cultivates instability and chases an ungrounded experience. Systemic complexity and creative destruction are characteristic. Muirhead uses paint, objects, photography, installation, and video to break apart and recon gure form and space. Terror often looms. Entropy gives way to emergence. Muirhead received his BFA from the School of the Art Institute of Chicago and his MFA from Claremont Graduate University where he was awarded the Karl and Beverly Benjamin Fellowship (2016), Art Department Fellowship (2015), and Ahmanson Annual Fellowship (2014). The artist lives and works in Los Angeles.
My work seeks possibility in a world of massive change. It embodies life in ux and choices sparked by immediacy.
My studio is an engine for obsessive material iteration, an investigative process that works through three formal elements: 1.) the grid; 2.) confounding gure ground relationships; and, 3.) emphasizing the frame and what might be beyond it.
I’m chasing an ungrounded experience. I use paint, objects, photography, installation and video to break apart and recon gure form and space. Composting – the idea that things are disintegrating and bonding into a new substance – reveals much about the ways I work.
My practice is a proposition for seeing the world – a network of auto-productive spaces that reveal perpetual collaboration between the human and non-human. The materiality I’m engaging with accounts for space as an energetic presence that intertwines everything.
Complexity and creative destruction are characteristic. I complicate boundaries between studio and exhibition site through permutations and purposeful play. The resulting work has an undeniable formal logic and a quality of transient, temporal relationship with its own physicality.
The politics of this work is experience itself. Its possibility is radical ambivalence. My aims are to disrupt systems of reference, cultivate instability, democratize space, and inspire negotiation with the agency of everything.