My Friends

Arrow Up

Arrow Up
Arrow Down
,
  • Sat
    23
  • Sun
    24
  • Mon
    25
  • Tue
    26
  • Wed
    27
  • Thu
    28
  • Fri
    29
Bound Aug 23, 2014 Voz Alta presents a multi-media show featuring performance art throughout the evening by Janice Grinsell and Eider Fiedler de Mello, as well as paintings from Anna Zappoli and Tim Caton. 93 other events on Saturday, August 23
 
News
How one case study could potentially transform City Heights
News
Former customs agent got more than seven years for smuggling drugs and people into the U.S., but mysterious events are raising questions about the government’s prosecution
Well, That Was Awkward
Spooky hell, urine baptisms and other memories exorcised by the Broadway play
Film
Joe Swanberg’s new independent film starring Anna Kendrick leads our rundown of movies screening around town
Editorial
Formal complaint against the Probation Department shows how far local juvenile-detention practices are out of the mainstream

 

 
Log in to use your Facebook account with
San Diego CityBeat

Login With Facebook Account

Recent Activity on San Diego CityBeat
 
Home / Articles / Arts / Seen Local /  Contemporary artist Michael Carini evolves
. . . .
Wednesday, Jun 20, 2012

Contemporary artist Michael Carini evolves

He conquered his art and fears in Alexander Salazar's residency program

By Amy T. Granite
Carini Michael Carini

When former CityBeat arts editor Kinsee Morlan first reported on Michael Carini’s paintings in January 2011, she revealed the artist’s mental-health struggles that forced him into seclusion and controlled the way he painted. Carini created technical works of art as if he was insecure about his natural abilities—the opposite of where he’s at now.

Carini is still a slave to his own drive, and his April-and-May residency at Alexander Salazar Fine Art proves it; during the course of 50 days and 500 hours, he produced more than 30 paintings for his show Boy in the Box, opening from 7 to 9 p.m. Thursday, June 21, at White Box Contemporary (1040 Seventh Ave., Downtown).

Carini is not, however, a slave to his mind anymore, and he thanks Salazar’s program for it. After losing his job, he was on the verge of homelessness this past spring, with no money and no studio.

His last hope was a residency with Salazar, where he’d be forced to work not only in public, but openly, in the tight studio space (aka the “box”) a couple doors down from Salazar’s main gallery.

Amid all the people and bustle, and without privacy, Carini triumphed. He quickly found inspiration in his surroundings, choosing to paint well into Friday and Saturday nights when Downtown is slammed. His door was always open, and people were always walking in. “I was there to spark interest, and my responsibility was to make people feel welcome, and that art is approachable,” says Carini, who often gave away pieces of his work to the homeless.

Carini hopes to sell enough art at his show to get a studio in San Diego. The work in the exhibition—exploding with color and his newly found free brush strokes—represents the relationships he forged Downtown.


Amy blogs at saysgranite.com and you can follow her on Twitter @saysgranite.




 
 
 
 
 
 
Close
Close
Close