Myles Dunigan

Oakland, CA
http://www.mylesdunigan.com

Antumbra

Antumbra, Mixed media on paper, 22″ x 30, 2013

Atropine

Atropine, Mixed media on paper, 20″ x 17, 2013

Deformation Survey

Deformation Survey, Mixed media on paper, 20″ x 17, 2013

Fallow

Fallow, monoprint with chin colle, 22″ x 30″, 2013

Three Islands

Three Islands, monoprint with chin colle, 14″ x 15″, 2013

 

Bio: Myles Dunigan is a printmaker and visual artist from Spencer, Massachusetts. Much of his inspiration is drawn from the untamed wilderness of central Massachusetts as well as from the modern ruins of New England. Abandoned factories, decrepit farms, and forgotten houses are monuments to the passage of time, and a focal point for his work. These unsung relics are collected in sketchbooks and subsequently woven into nebulous images where time and space endlessly fluctuate. He attended the Rhode Island School of design for his undergraduate degree, majoring in printmaking. He currently resides in Oakland, CA.

Artists Statement: From birth onward, we engage in a cyclical exchange of shaping and being shaped by the environments around us. The ever-mutable passage of time renders all moments fleeting, and thus our experiences become amalgamations of these fragments. The effect of time on our environmental and existential state is the locus of my visual work. Memories, dreams, reveries, and the imperfect machinery of the mind ebb and flow between one another through dense layers of process. My content is culled from an extensive codex of landscape, architecture, and artifacts that I have amassed though my life and travels. Compiled in sketchbooks for later use, these images become the building blocks of prints and larger works. I utilize a wide spectrum of printmaking techniques, both traditional and experimental, to infuse a rich sense of history into the work. Through printmaking, elements are able to be repeated across several pieces, giving them the quality of a recurring dream or half-forgotten memory. I gravitate towards working in print because of the physical alchemy of printmaking; the genesis of the multiple becomes a visual metaphor for eroding cycles of experience.