• images
  • information

Spiritual Underground

Point to any image to see it larger. sold acquired

Epiphany

Epiphany, 2012
acrylic, spray paint, marker and grommets on paper
H x W: 63" x 57"

 

Daily #1

Daily #1, 2011
acrylic and grommets on paper
H x W: 57" x 59"

 

Daily #2

Daily #2, 2011
acrylic, tape and grommets on paper
H x W: 57" x 55.5"

 

Inner Circle

Inner Circle, 2012
spray paint and grommets on paper
H x W: 40" x 122"

 

Instructions Not Included

Instructions Not Included, 2012
acrylic and grommets on paper
H x W: 56" x 30"

 

Relay

Relay, 2012
spray paint, acrylic, marker and grommets on paper
H x W: 84" x 59"

 

Occupy U #1

Occupy U #1, 2012
acrylic and spray paint on paper, mounted on board
H x W: 27.5" x 57.5

"

 

Occupy U #2

Occupy U #2, 2012
acrylic and spray paint on paper, mounted on board
H x W: 22.5" x 58.5"

 

 

 

 

Two Ways (A)

Two Ways (A), 2012
acrylic, marker, tape and vintage comics on paper
H x W: 17" x 18"

 

Two Ways (B)

Two Ways (B), 2012
acrylic, marker, tape and vintage comics on paper
H x W: 17" x 18"

 

 

 

 

 

Series: Spiritual Underground

Robert Motherwell, the painter who wrote extensively about the philosophies and experiences of the "New York School" of abstract expressionst artists, of which he was a central figure, believed that as religious and political institutions fail to address human need, artists have a responsibility to form a "spiritual underground" to "make actual the spiritual." Motherwell held this was especially true for artists who made "modern", non-representational work. In this series of large paintings on paper, McKay explores this premise, and through an interactive gallery guide offers viewers a means of approaching art in a way that goes beyond aesthetics, challenging body, mind and spirit and encouraging reflection on one's relationship to broader societal issues.

In a related gallery talk (March 10, 2 PM), McKay offers suggestions as to how artists, curators, and art patrons can more fully embrace a practical spirituality through the experience of art, drawing on psychological practices involving the assessment and treatment of trauma, framed by software engineering theory.