Skull DIY Design Theory Event

Skull DIY Mark John DeYoung

Skull DIY Design Theory Event | Design Gallery | Kalamazoo, Michigan

The Skull Do-It-Yourself (DIY) Design Theory project allowed the public to showcase their views on the theory of design. The Skull project featured a short introduction on design theory, two drawing stations and a 7’ x 12’ skull painting where participants could post their design theories. Four inch spikes laid out in a grid format in six inch intervals across the entire skull created an efficient posting area.

The Particpatory event on design theory is a meditation on our societal role in the creation and defense of our societal norms and values. More particularly, it points to our responsibility as citizens to create the future we imagine.  Pythonesque in nature, “my brain hurts!” the spiked skull satirically references the importance of informed decision making. We can either create or resolve societal injustices.

The Skull DIY installation exists through the design theory displayed and created on site by the participants. The collection of drawings served to enable the audience to participate in the conversation on what problems designers should address. Continue reading “Skull DIY Design Theory Event”

DIY Design Theory Breda

DIY Design Theory Breda | Graphic Design Festival Breda | Breda, The Netherlands

The Do-It-Yourself (DIY) Design Theory Breda event was held at the Graphic Design Festival Breda. All comers, designer and non-designers alike, were welcomed to create a sign and participate in a protest focusing on “designers” concerns. Across the city different design theory drawing areas enabled participants to give voice to their concerns. The results were then “wild-plakt” on the outdoor, billboard/poster exchange centers in the city center. The event democratized the conversation on design, enabling the audience to exchange their role as passive viewer and to engage. The voices were now in support or in contrast with the chosen speakers featured in the speaker sessions.

We create the future we imagine. This DIY participatory project is one way to enable a design that makes connections, encouraging a positive, creative response. The event gave voice to the (citizen) designer no longer accepting of the idea of serving as mindless mouthpiece for authoritative industry. Participating design theorists through the community and dialog built in the creation of the works and the wild-plakt display were able, at least briefly, to find solidarity.

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Matter of Fact Populist/Conceptual Installation

Matter of Fact Mark John DeYoung

Installation | Museum Stadt Oldenburg | Oldenburg, Germany

Matter of Fact is a painting of an American Semi-tractor trailer truck combination, actual size. The painting is on 1,362 cardboard boxes, which when assembled, form a semi-tractor trailer truck combination, actual size, 13’6” x 8′ x 60.’ Depending on the type of exhibition space and visitor demographics, the work can be exhibited as a easy-to-understand, populist culture realist painting or as a networked theoretical, conceptual installation.

Populist Cultural Realism. Get more bang-for-your-buck through this easy-to-understand installation of 1,362 cardboard boxes assembled to exactly match the dimensions of a semi-tractor trailer truck combination. The realist nature of the work and the quantity of paintings gives the museum visitor value for their money. The MOF: Populist Cultural Realism, through size and the sheer quantity of paintings, ensures the technocratic, quantifiable efficacy of the exhibition. This in turn justifies its presence to the executive leadership team and the board of directors.

Conceptual Installation. The conceptual installation consist of 1,362 paintings on flat cardboard boxes stacked flat on 22 wooden pallets. Only the top painting on each pallet is visible. Arranged in the industrial formation that would fit in a 48’ semi-tractor trailer the installation challenges the viewer to identify internal, versus external and the potential for utility. Engaging what O’Doherty/Irleand might call the “uber viewer,” the work satisfies the discriminating gallery need for conceptual exclusivity.

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Coham Man Series

Coham Man Series: Big Ad Mark John DeYoung

Coham Man | Frans Masereel Centrum | Kasterlee, Belgium

The Coham Man is an ongoing series of prints and drawings/combines that as a point of motivation deconstructs “machismo.” That is to say, this series deconstructs posturing of strength in contrast, or perhaps instead of, a man’s legitimate search for independence of body and mind, i.e. the effort to become strong. The works have been exhibited in Europe and in the U.S.

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Tourist Trap Conspiracy Environment

Tourist Trap Conspiracy, Mark John DeYoung

Environmental Installation | Kunsthuis de Permanente | Groningen, The Netherlands

Suck in Groningen consisted of a 8’ x 15’ freestanding painting on riveted aluminum plates. A copy of Ploeg member Jan Altink’s city scape, “Visserburg” was created on a floor of the gallery with pastel and pigment. In order to view the aluminum freestanding work, the gallery visitor had to walk across the city scape thereby displacing pastel and pigment on the floor piece in the process. There is an ambiguity in the work that is resolved depending on how the work is interpreted. Some viewers may see walking on the copy of Altink as the destruction of the work while others may view this as participants activating the installation in a process of transformation.

The installation was based on contemplation on how cultural heritage is treated and exploited for personal/organizational gain particularly as related to a technocratic perspective (Bell).

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American West Painting Series

American West Series Mark John DeYoung

Diverse European and American Venues

The American West series is an exploration of the industrial road landscape of The United States.

The works on canvas cut-outs are apparent in their substrate as is the process of making in the final works. Rabbit skin glue to seal the material, and then oil gessoe to provide for a surface to accept the oil color is visible in some of the cutouts. The loose canvas cut-outs contrast the traditional, formality of stretched linen rectangles. The exposure of process and construction makes apparent my presence as the shaper of the visuals. This and the work-a-day subject matter of the work provides for an egalitarian body of paintings.

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