My Friends

Arrow Up

Arrow Up
Arrow Down
,
  • Sat
    18
  • Sun
    19
  • Mon
    20
  • Tue
    21
  • Wed
    22
  • Thu
    23
  • Fri
    24
Greatest Hits Volume One Apr 18, 2015 From Abba to Judy Garland, the 200-member San Diego Gay Men’s Chorus celebrate 30 years of singing with this special anniversary performance. 99 other events on Saturday, April 18
 
Seen Local
Normal Heights artist finds market for snarky wares
Cocktail Tales
Jackson Milgaten incorporates classics and finds from his travels
Seen Local
The second in our series on the artists awarded grants through the Creative Catalyst Fund
Nibbles | Food & drink
MEAT San Diego event with Dona Esthela and Javier Plascencia
North Fork
Popular Carlsbad spot has its own farm

 

 
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