My Friends

Arrow Up

Arrow Up
Arrow Down
,
  • Fri
    24
  • Sat
    25
  • Sun
    26
  • Mon
    27
  • Tue
    28
  • Wed
    29
  • Thu
    30
HauntFest on Main Oct 24, 2014 The third annual, family friendly event in Downtown El Cajon features two stages of live music, a carnival rides and games area, a Kidz Zone with outdoor movies, magic shows, pumpkin patches and more. 70 other events on Friday, October 24
 
Film
Adaptation of Patricia Highsmith novel tops our coverage of movies screening around town
Theater
Steve Martin and Edie Brickell’s musical leads our rundown of local plays
News
City’s contract tweaks both tighten and loosen requirements
Theater
A review of Cygnet Theatre’s production of Sam Shepard drama tops our coverage of local plays
Editorial
From San Diego City Council and Congress to Secretary of State and all the proposition, we have your ballot covered

 

 
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