- Laser-engraved plywood, collage, plexi, acrylic paint, cloth ribbon
- 9" x 9"
"This was one of my earlier experiments with frames where I created a concept for the frame first (frames shaped like hands) and then created the collages housed inside the frames."
- Mikey Mosher
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Born in Falmouth, MA; based in Chicago, IL
A collector of knickknacks and magazine clippings, Mikey Mosher makes mixed-media collages and wall sculptures that display American contradictions and detachments. Raised in coastal Massachusetts, Mosher took note of the faith-based historical events that occurred in and shaped New England—inspiring him to pursue comparative religious studies before continuing his advanced training in art. His practice exposes the tangles of religion, capitalism, and systems of power while tendering cathartic avenues for play and physicality.
Mosher stockpiles source material ranging from pieces of sea glass, feathers, plastic pigs, shells, fake hands, and dominos to pictures of fingerprints, houses on fire, bird fountains, dice, pennies, and the earth. He arranges such imagery and items either within hand-cut collages in constructed frames or wood armatures that he sands, lasercuts, and paints. Crafting each highly detailed work is laborious. In both his process and output, Mosher prioritizes touch as a means of alleviating societal alienation and digital disembodiment.
Mosher’s wall works recall relics and altarpieces on the one hand, and cabinets of curiosities and childhood toys on the other. Each art object holds the viewer’s attention and provokes a visceral, emotional response. With his oeuvre, Mosher addresses the “pervasive loss of tactility in American culture” while probing the discrepancies and consistencies between spirituality, indoctrination, idolatry, and consumerism.