Expatriate

Art x Love was commissioned by BoomAgers to create a painting for their main conference room. Expatriate is from a series of paintings that was first explored in 2008. It was painted entirely with drip techniques over a holographic foundation. The painting’s colors and shapes shift with changes in light and perspective, effectively making it look unique to every moment and perspective.

BoomAgers is a leading New York agency dedicated to age-inspired innovation and marketing creativity. Expatriate reflects the dreams, hopes, and aspirations of the American spirit.

Introducing the Problem

Mac found this journal entry while preparing for a presentation on Why Art Matters that was scheduled exactly 10 years from the day he wrote it. The full text is provided here as reference.


Introducing the Problem

“The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.”
– William Butler Yeats

I became aware of the problem when I was first asked “Is there such a thing as love?” It never occurred to me that others might not know, feel, or sense it. “Of course there is,” I would say. “If you believe in it then that means it can exist for someone else.”

Recently, my uncle confided in me that he is no longer certain that truth exists. It is often said that hope is a fruit born of youth, but my uncle’s cynicism surprised me. He is a thoughtful, intelligent, and well-travelled man. What could cause this crisis of faith? In a word: humanity.

Never before has mankind known so much and so little about the world in which it loves. Global communication and awareness has shaken the foundation of our trust, forcing new responsibilities and consideration upon those who were all too ready to accept their limitations. Now we fight and struggle for the familiar, desperately trying to slow the change that we know must come.

Throughout the fear and uncertainty, we are all trying to cling to something that we can be sure of: a job, a loved one, a country, an exercise, an excuse.

We live without a unifying theory for all that we now find around us.

My uncle shared his concerns with me. We talked about Iraq, Afghanistan, Iran, Saudi Arabia, Palestine, and Israel. We talked about the media, the American presidential race, Hannah Montana, Benazhir Bhutto, the surge, the internet, and marketing trends. We talked about whether or not the internet is safe for my thirteen year-old cousin and about why we have mass executions in our schools. We talked about the psychology of our country and the common American individual. We talked about immigration, the marketplace, mass media, and guerrilla advertising. We talked about art, terrorism, religion, and liberty. We talked about all of these things and more. Throughout it all I conceded his every concern and fear, but on the subject and nature of truth, I would not move. I could not. If I waiver on truth our world will crumble.

And yet, so the world crumbles around me. Our country was born from the people, by the people, and for the people – yet we continue to suffer as people always have. The exploiter has become the exploit. The abuser is now the abused. The revolution has become the institution and we are all to blame.

I talked to my uncle about truth and how I believed it to be a permanent and constant thing. He mentioned history and political spin while I chipped in preferential viewpoints and still, I maintained the position for the immutability of truth. This only aggravated his concern for the attainment of truth.

Before the discussion could spin any further, something in my uncle clicked without any justification. Maybe it was stubborn optimism, or the response on the tip of my tongue “the truth is not for us to have, but to participate into being.” Maybe it was the scotch.

The debate over the existence of truth ended there, but my thoughts turned to Yeats and the myth of reluctant leadership. What good do our thoughts or considerations do if they are not shared? How many eternal truths of life and the universe have drifted through our fingers as others fervently pursued mortal gains?

I am probably wrong about a great many things, but I realized that I needed to share my thoughts about these great mysteries, if only to brighten the path as it was brightened for me.

Mac Love •
January 14, 2008

Stuffed Animal Portraits

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Specifically designed for Noah's Restaurant's holiday art exhibit in 2005, the Stuffed Animal Portraits were an experiment to learn about the depth of subjective perception in the development of pictorial narrative. Each portrait began with a child painted on a sculpted surface, and was then transformed into an animal avatar.

Diamond (Red)

Diamond (Red) was painted by Mac Love in 2005, following his voluntary deportation from Scotland and while in residence at The Hygienic Galleries & Co-op, in New London, Connecticut. Diamond (Red) is a continuation of Love’s Umbrella Series of paintings, and depicts a crystalline umbrella against a ferocious red backdrop. Diamond (Red) explores and reflects Love’s grief, frustration, hope, and aspirations at a time of uncertainty.

The painting was donated to a charity auction and raised $5,000 in support of HIV (A.I.D.S.) treatment and care.

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Last Sunday

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Last Sunday was painted in 2003-2004 and represents a continuation of Mac Love’s Umbrella series of paintings. The Umbrella series began in 1999 as a thesis exploration of subjective interpretation, self-illumination, existential and absolute meaning. Love created the hypothetical world of Ible Invi to house and explore these concepts across a range of paintings, sculptures, installations, and performances.

Last Sunday depicts a flooded dream-like cityscape, bleached in light and darkness, with an apocalyptic column of fire rising up in the distance. Umbrellas float with playful physical defiance in the flooded streets.

Last Sunday was part of Mac Love’s Master of Fine Art thesis exhibition at The Edinburgh College of Art in Scotland, in 2005. It was later displayed at The Outhouse, a restaurant and nightclub in the City Center. Its current location is unknown.

Last Sunday also makes an appearance in Mac Love’s follow-up painting The Library (Last Sunday), which was rescued following Love’s deportation from Scotland.

Resilience

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In 2004, Mac Love was selected as a Royal Scottish Academy Artist to be featured in the National Galleries of Scotland. As Love’s second consecutive selection for that honor, he produced a month-long unscripted performance titled Resilience, which centered on the story of a sink Love found while walking home.

Resilience intentionally sought to disrupt the gallery space and engage visitors in conversation about personal, cultural, and creative matters. The performance explored the diversity and merit of creative expression, and asked visitors to consider the nature of fear and our values.

Mac Love performed Resilience for one hour every day for the four weeks of the Royal Scottish Academy exhibition. In Love’s words, “It was crazy, wild, terrifying, hilarious and beautiful. I’ll never forget some of those conversations. It was amazing.”

Terror of One

Terror of One was originally conceived in 2001 as a contemporary update of Edvard Munch's famous painting, The Scream. I originally painted painted this in Edinburgh, Scotland, in 2003. It was selected for exhibition at the Royal Scottish Academy and has since been exhibited in New York, Connecticut, Massachusetts, and Ohio.

Fulfillment

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In 2002, Mac moved to Edinburgh, Scotland, to pursue his MFA at the Edinburgh College of Art (ECA) and audit classes at St. Andrews’ Institute for Theology, Imagination, and the Arts (I.T.I.A.). One of his early MFA assignments was an interdisciplinary collaboration with the Department of Architecture and the Department of Sculpture. Mac’s collaborators were international students who arrived at ECA one week before the exhibition.

Mac hosted a welcoming dinner at his apartment a week before the show and conceived of a mass-blindfolding performance that they called Fulfillment. They contacted ECA and secured permission to operate the wine table, and used it to distribute custom-made blindfolds to all attendees. Before the exhibition opened, they blindfolded all of the sculptures.

Fulfillment was a huge success, with more than half of all attendees participating in the social experiment throughout the evening. At one point more than 80 people were simultaneously blindfolded for more than 8 minutes. When you blindfold yourself, your other senses take over and fill in the gaps. You can hear beauty, feel authenticity, and recognize an entirely different dynamic of interpersonal communication and understanding. Following the exhibition, we learned that Fulfillment was the first in the history of the Edinburgh College of Art to earn artists an hourly wage. It was sensational experience, and one Mac looks forward to replicating in the future.

Daisy (Umbrella)

Daisy (Umbrella) is an oil painting Mac created in 2001, following the attack on the World Trade Center and as a reflection on human nature. An early inspiration of his was the Belgian surrealist artist, Rene Magritte. Mac has always been enamored with the language of symbolism expressed across his work.

Daisy (Umbrella) came to Mac in a dream and provoked thoughts of fear and security (real and imagined), and the tools and artifices we use to travel and go outside, both physically, spiritually, and intellectually.

The painting is named “Daisy” after his great-aunt’s personal assistant and caretaker in the U.S. Virgin Islands. Daisy was an extremely strong, beautiful, and compassionate Caribbean woman with a great sense of humor and booming laugh that seemed to be directed at existence itself.

“This painting is a lifeline, not just for American audiences, but to the better nature of all people.” – Mac Love

Daisy (Umbrella) Oil on canvas 4 ft. x 3 ft. Sold

Sunday

This is the original concept sketch Mac Love drew shortly after waking from his dream of the flooded city and ballet of umbrellas.

Mac Love’s original concept for Sunday, created shortly after waking from his dream.

Sunday is the first umbrella painting in the Umbrella Series. Mac Love created this painting in 2000-2001 as part of his thesis study of Synaesthesis, the harmony of different or opposing impulses produced by the work of art. Sunday depicts flooded city streets with a ballet of umbrellas defiantly floating amidst an ominous backdrop of apocalyptic fire.

Mac Love describes Sunday as “an exploration of faith, fear, and mortality while reflecting on the looming economic crisis [at the time]. I had this amazing dream of a world of universal symbols and impressions, and found the dance of the umbrellas to be beautiful and captivating. The umbrella paintings have done me a great deal of good in healing, learning, and understanding from the world around me,” says Love.

Sunday was part of Mac Love’s Bachelor of Fine Arts exhibit at Skidmore College, in Saratoga Springs, New York. It was purchased during the exhibition, and currently resides in a private collection in San Francisco, California.

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Democracy (Umbrella)

Democracy (Umbrella) was created by Mac Love in 2000 and is one of the first paintings from the Umbrella Series. To Love, the painting is “a reflection on [his] experience growing up as an American abroad.”

Democracy (Umbrella) depicts a glass half full/empty atop an umbrella, pouring parallel but asymmetric streams of water into a pool of power.

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