Michi Meko USA, b. 1973
Baggage: Leave Me Better Than You Found Me., 2021
Acrylic, Gold Leaf, Oil Pastel, White Prismacolor Pencil (pc938), Areosol, Areosol Holigram Glitter, India Ink, Krink, Aluminium tent Pole, Paper Bag, Black Corner Store Plastic Bag, Wire, Parachord, Lantern, LED Lights, Duct- Tape, Fringe, Red Push Pen, Wood Screws, Nails, Patio Planks on Panel
40 x 64 x 8 in
101.6 x 162.6 x 20.3 cm
101.6 x 162.6 x 20.3 cm
7958
Further images
-
(View a larger image of thumbnail 1
)
-
(View a larger image of thumbnail 2
)
-
(View a larger image of thumbnail 3
)
-
(View a larger image of thumbnail 4
)
-
(View a larger image of thumbnail 5
)
-
(View a larger image of thumbnail 6
)
-
(View a larger image of thumbnail 7
)
-
(View a larger image of thumbnail 8
)
-
This sculpture by Michi Meko incorporates many of the central motifs within Meko’s practice, including cartographic symbology, found objects, and materials that relate to gardening, camping, and other outdoor activities....
This sculpture by Michi Meko incorporates many of the central motifs within Meko’s practice, including cartographic symbology, found objects, and materials that relate to gardening, camping, and other outdoor activities. These materials culminate into a map of both the inner and outer wilderness. Meko has always been interested in the languages of wilderness spaces. In and around his Georgia home, he ventures on hikes and camping and fishing trips. He makes an extensive photographic record of his trips, and makes detailed field notes. His practice is rooted in questions of how he, as a Black artist, personifies nature, especially when compared to the typically white male voices that dominate the genre of nature writing, such as Whitman, Theoreau, and Muir.
“I was curious enough to ask myself what it means when we turn ourselves from gazing outward at a mountaintop or a valley, inward towards whatever mountaintop or valley is in ourselves,” says Meko. “I wondered, is the transcendent moment the scenery, or the view? Or is it the inward reflection that appears to be an outward gaze?”
“I was curious enough to ask myself what it means when we turn ourselves from gazing outward at a mountaintop or a valley, inward towards whatever mountaintop or valley is in ourselves,” says Meko. “I wondered, is the transcendent moment the scenery, or the view? Or is it the inward reflection that appears to be an outward gaze?”
