Dangerous Minds Artists - 'Present From The Past'

The Dangerous Minds Artists Studio was founded by Michael Lake-McMillan and Alan Stuart. The artists’ distinctive work constantly refers and returns to the touchstones of light, beauty in decay, abandonment and antiquated typography.

Dangerous Minds practice is driven by duality. The pairs’ intuitive subliminal dialogue centers on point and counterpoint and the production of works that are, fundamentally, aesthetically appealing and which, on further inspection, inspire curiosity and cause a ripple of intellectual stimulation. Subject matter is considered in depth, deconstructed then reformulated with an essential duality at its core. Often incorporating ambiguous or cryptic text elements relating to a parallel narrative.

Dangerous Minds overriding motivation is the creation of aesthetically beautiful works that engage on first viewing, but which nevertheless have secondary intellectual resonances that become apparent on further consideration. These concealed narratives may be integrated within the structural dynamic of the work, or be more accessibly indicated via the inclusion of text appliques, which themselves may have a further degree of linguistic ambiguity... "You have to believe it to see it"

Kaiten Acrylic on canvas. framed, unique, 210 x 262 x 8 cm Kaiten Return to the sky.

The metaphysical transformation of the Koi breeder. The image of the Kaiten represents the ultimate sacrifice a man can make for his country. To give his life with honour in service to his country. Piloted by a Koi breeder this Kaiten is transforming into Koi, the fish that he loved the most and which will give him the strength to fulfil his mission. In Japan, the koi is associated with perseverance in adversity and strength of purpose. Because of its strength and determination to overcome obstacles, it stands for courage and the ability to attain high goals. Longevity, love and transformation are also associated with the Koi and these represent the future for Japan. The lotus flower floating away from the Kaiten represents the moving away from violence to a more peaceful philosophy of existence. The large No 5 symbolises the conceptual framework known as the Godai, or, the Five Elements of Void/Sky/Ether/Power, Wind/Air, Fire, Water and Earth from which everything in the universe is perceived to be a manifestation of these five great elemental 'building blocks'.

The Artists interpretation of the piece is the metaphysical transformation of war and peace. As the Kaiten heads towards its inevitable end it transforms in to peace and love, the overpowering conspectus of the pilot. Living a peaceful, harmonious life, he only wishes to return to that way of life. Rising above the transformation is the pink lotus, spreading it roots across the Kaiten, symbolising the hope that out of all the death and pain peace will come and from that a clearer understanding of man’s interaction with man. That war only leads to loss and anger and regret.

The 3 rings are interpreted as a broadcast to the world to live in harmony.

Order/ Chaos (Gold) (Diptych) Acrylic screen print, micro-spherical appliquĂŠ on gold HIPS Edition of 25, 98 x 69 x 5 cm (each) Order / Chaos... Gold Pared down to its most basic form and executed in the purest constituents, this diptych epitomises the very spirit at the heart of the collection... duality and dichotomy .

The work examines the differentiation of head and heart and their mutual incompatibility. The screen printed anatomical drawings are applied in matt powder blue upon a mirror finished metallic gold ground. These deceptively simple images are embellished with the words Order and Chaos, executed in micro spherical glass beads.

The text is at once virtually invisible, yet at certain angles and in certain lights luminously radiant. It is this simple yet challenging juxtaposition that promotes the examination of the implied belief and creates a framework for further analysis.

Order Chaos, the concept behind the series of screen prints comes from the dualistic nature of the Dangerous Minds practice. Playing on the chaotic and emotional nature of the heart contrasted and balance by the ordered and analytical brain. These print are a stripped down and meditative interpretation of order and chaos, emotion and thought.

Reflections Upon Transmontana Neon, Stainless steel spoons, steel matrix, plywood in heavy acrylic vitrine Unique, 81 x 220 x 20 cm

Reflections Upon Transmontana Deriving its design from the profile of Ascipenser Transmontana and superimposing this upon a sea of highly polished concave mirrors. 'Reflections Upon Transmontana' comprises 1600 polished stainless steel spoons welded into

a shimmering geometric grid; this then acts as visually fluid background to the outline of the sturgeon, fabricated in pink neon. This entire structure is then enclosed in a heavy acrylic vitrine that is bolted to the steel frame with special engineering fixings.

Cow Digital print, foam-x panel, EL wire inlay in flocked ornate frame Edition of 10, 99 x 130 x 11 cm

Cow In Cow we explore unconventional juxtapositions, the viscerality of the midcentury Soviet veterinary anatomical graphics with the velvety textural qualities of the powder blue flock finish to the ornate rococo style frame. This in turn acts as a chromatic and stylistic counterpoint for the hot pink electroluminescent text executed in a mechanistic industrial font. When seen as a whole, these dichotomous elements coalesce to create a pleasingly harmonious aesthetic.

666 Acrylic, powdered metal, EL wire inlay on routed MDF panel Unique, 116 x 238 x 3.6 cm

666 The number of the beast... The piece is an exercise in precision and subtlety. The beautiful numerical font is derived from mid-century Greyhound racing betting tickets and is somehow metaphysically enriched by the excitement and belief of the millions of race-goers who have placed their faith in their chosen numbers.

The background panel is finished in metallic pewter and zinc powders

suspended in lacquer, and is incised with a thunder-ball graphic. This symbology dating back to the Greco-Roman era, combining paired lightning bolts and spread eagle wings flanking a planetary orb. The full height numerals are executed in two tone pink electroluminescent inlay and act as a chromatic counterpoint to the metallic neutrality of the background

Bone Idol Digital print, foam-x panel, EL wire inlay, animal bone in ornate frame Unique , 130 x 99 x 11 cm Bone Idol Bone Idol is a latter day totem, where the Flintstones meet sanitised Voodoo.

Constructed from disparate elements, this work combines mid-century Soviet

veterinary anatomical graphics with a citrus yellow electroluminescent text inlay.

The enclosure itself is constructed from clinically prepared cow thigh bones integrated into a conventional hard wood moulding, the whole being lacquered in a uniform bone coloured satin varnish. This creates an almost factory moulded frame that pays homage to the Hannah Barbara cartoon character Pebbles and her dinosaur bone hair decoration.

Really?

Acrylic on routed MDF panel, unique, 116 x 238 x 3.6 cm

Really?

The animation of the two female protagonists in this piece is complimented and emphasized by the eroded mid-century fairground graphic panel beneath. This is further enhanced by the incised outlining creating an almost explosive resonance within the piece. The painting

itself is executed in sequential layers of translucent tinted glaze with its final graphic delineation applied in solid slate grey. The overall translucence of the work presents an ambiguity that separates it from the flat plane graphic emphatic found in many other examples of pop portraiture.

Observe!

Acrylic on routed MDF panel, unique, 116 x 238 x 3.6 cm

Observe!

The piercing interrogative eyes of this work overlay the explosive thunder-ball graphics found in the mid-century fairground panel beneath. The painting itself is executed in sequential layers of translucent lacquer glaze applied over

the antiquated eroded graphic background. The overall translucence allows the images duality to resonate, the only solid colour being the final flat black work applied as an emphatic graphic detail.

Smash Acrylic, metal leaf appliquĂŠ on routed MDF panel, unique, 116 x 238 x 3.6 cm

Smash This large figurative piece derives inspiration from the Jimmy Olsen character from DC comics, a young photo journalist and sometime side kick of Superman. The window pane effect is executed in transparent lacquers intermixed with iridescent pigments that cause the painting to

shimmer. The shattering glass within the image is emphasized by the application of silver leaf. This is further a complimented by the incised thunder-ball graphic that is routed into the surface of the panel. The whole painting has a capacity to subtlety change as ambient light angles and sources change with the transition of day into night.

Winning Numbers Stag skull and antlers, mid-20th century fairground game with fairground luminaries Unique, 175 x 78 x 5.5 cm

Winning Numbers Winning Numbers can be viewed in two ways, either as an appealing fairground luminaire or as a symbol laden totem.

The base panel is an authentic 1950's fairground gaming table, imbued with 'carny' resonance and numerological potency. This is

enhanced by the red V formation within the fairground bulbs that illuminate the piece referencing 'V for vendetta' and the female pubis. This is surmounted by a male fertility symbol in the form of a stag’s skull and antlers. If the lights don't do it for you then the potent symbolism should certainly get your mojo working.

Strong Minded / Weak Willed Oil paint, micro-spherical bead appliquĂŠ, framed Unique, 112 x 88 x 5 cm (each)

Strong minded / Weak willed This diptych plays with two ironic dualities. The paired, hand painted floral panels executed in seventeenth century Dutch style, were once the epitome of interior chic.

Their aesthetic has been revitalized by means of the application of a pair of counter

point phrases...Strong Minded / Weak Willed. Executed in a highly contrasting mechanistic font, these texts are applied in micro spherical glass beads which when illuminated from certain angles appear to be almost back lit. When viewed in transition the phrases exhibit three specific states, seen from square on they are absolutely invisible, seen obliquely from the left they appear as non-reflective black and when viewed obliquely from the right they appear radiantly white. A third irony is that these transient qualities make the works almost impossible to photograph.

No.5 Wood, vinyl, neon Unique 80 x 130 x 8 cm

The 5 series The Artists have a great affinity with the No 5 finding it a very balancing concept. Considering the numerological and esoteric harmonizing nature of 5, such as these meaning and interpretations: The number for marriage, the joining of the female No 2 and the male No 3.

Number of man, prime number, Fibonacci number, the 5 elements, 5 senses etc.

5 is considered the most dynamic and energetic number which fits in well with the ethos and dynamic of the Artists practice.

Linear Musings Wood, MDF, Fabric, Glitter, Metal, Print, Acrylic, Neon Edition of 3 each, 110 x 80 x 8 cm (each)

Linear Musings Play on a series of subliminal elements...

The unconscious nostalgic recognition of the Damask pattern flock motif acts as the support for a group of subliminal signifiers.

A narrative symbology is imparted by the stylised neon luminaire...deriving their forms from magical symbols and deconstructed graphic references relating to the implied narrative.

The colour field treatment of the base panels references a duality, order and chaos again interplay in disciplined and apparently random paint applications. The tonal values of the damask, counterpoised by the liquid paint runs, and the glitter regularity counterpoised by swept gestural impasto.

(The swept gestural impasto references the incised information found on a vinyl record, at the same time resembling lines if computer code... yet another form of linear narrative...)

The actual Linear Musing texts are derived from a collection of poems by Michael Scott... entitled... Little Usherette. They delve into a post Lynchian dystopic relationship between a cinema patron and an usherette, the object of his affection. Further Musings are derived from deconstructed advertising slogans, reassembled into cryptic statements and appellations.

The panels at the base of the works once again return to nostalgic origin, referencing the pastel chromatic banding found on the covers of 1960's Mills and Boon romantic novellas. A further level of symbolism is imparted by the nursery colours of powder blue and pink, which in turn act as a carrier for the aluminium lettered text... which is itself applied in floristry letters, normally reserved for funeral wreaths.... thus neatly encapsulating the cycle of life.

So in conclusion, what may at first resemble a decorative panel in an amusement arcade, is actually a symbol laden meditation on the infinite complexity of life and the complexity of dilemmas and opportunities it presents.

Round 5 Neon, metal, MDF Unique 97 x 18 cm

Round 5 Dangerous Minds lucky number five makes its reappearance... this time in a quasiindustrial guise... Housed in an oxidized steel extraction duct, and superimposed upon a mosaic of hand cut and patinated mirror tiles. The plump numeral disseminates a reassuring hot orange glow. Subliminal allusions to continental petrol stations, the distant roar of Le Mans and the unfeasibly long swelteringly hot summer vacations of childhood... one can almost smell the Ambre Solaire.

The 5 series The Artists have a great affinity with the No 5 finding it a very balancing concept.

Considering the numerological and esoteric harmonizing nature of 5, such as these meaning and interpretations: The number for marriage, the joining of the female No 2 and the male No 3.

Number of man, prime number, Fibonacci number, the 5 elements, 5 senses etc.

5 is considered the most dynamic and energetic number which fits in well with the ethos and dynamic of the Artists practice.

Strangely Enlightening Steel, wood, neon Unique 127 x 126 x 14 cm

Strangely Enlightening Housed, as it is in a perfect square of lacquered pearlessence white, the oxidized steel plate with its savagely flame cut edges alludes to man’s imperfection and ever present quest to attain a state of enlightenment. This is further identified, as at the centre of the steel plate, what are apparently a pair of random holes now reveal the snow white neon glow of the word Fo... Chinese phonetic pronunciation for Buddha. Ultimately in its juxtaposition of the perfect and the flawed, the work is representative of a contemplative Zen like serenity and circularity.

Mortagenic Specimen #1B Wood, bone, neon, acrylic Unique 120 x 122 x 22 cm

Mortagenic Specimen #1B The vertically bisected and anatomically prepared skeleton of a fallow deer is displayed, mounted on rusty steel background. The combination of Thanatos and ecumenical antiquity is harmonised by the imposition of a vibrant turquoise neon outline of the body of the

deer, soft and appealing, in former times, Thereby injecting life and modernity... completing the circle.

West One Steel beam, resin wings, acrylic, neon Unique 187 x 124 x 50 cm

West One Almost militaristic in its quasi monumental form, the rusted steel girder mated with corroded angelic wings is embellished via the application of a glowing pale turquoise neon outline of the quintessential Sykes Fairbairn commando knife. The oblique cut, through the girder reveals the otherwise concealed capital letter 'I', the gilding of which subliminally personalises the piece and at the same time questions and celebrates aggressive identity.

War Horse (Male) Antique rocking horses, aircraft wings, acrylic, oil, resin Unique, 145 x 98 x 60 cm

War Horse – Male The transition from a state of childlike innocence to that of adult capriciousness is alluded to in the paired pieces of War Horse... The juxtaposition of the decayed pressed steel rocking horse bodies with the

WW2 fighter plane wings and ironically decorated 500lb bombs is ultimately a meditation on change of state with the passage of time... personal, social and political...

War Horse (Female) Antique rocking horses, aircraft wings, acrylic, oil, resin Unique, 145 x 98 x 60 cm

War Horse – Female The transition from a state of childlike innocence to that of adult capriciousness is alluded to in the paired pieces of War Horse... The juxtaposition of the decayed pressed steel rocking horse bodies

with the WW2 fighter plane wings and ironically decorated 500lb bombs is ultimately a meditation on change of state with the passage of time... personal, social and political...

Observing The Aeon Acrylic paint, glass, mixed media, wood Unique, 244 x 120 x 10 cm

Observing The Aeon Observing The Aeon is an observation on the rise and fall of civilizations. Taking its influence from the ancient cities of Mesopotamia such as Ur, Assur and more modern cites like London. Build on the remains of its predecessors, all succumbing to ruin in the end. This work was started when it was proposed that Detroit was to be abandoned making it the first city in modern times to follow in the footsteps of so many ancient cities.

Rare Wood, leatherette, print, acrylic, glaze Unique, 185 x 66 x 54 cm

Linear Musings Wood, MDF, fabric, glitter, metal, print, acrylic, neon Editions of 3 each, 110 x 80 x 5 cm

Linear Musings Play on a series of subliminal elements...

The unconscious nostalgic recognition of the Damask pattern flock motif acts as the support for a group of subliminal signifiers.

A narrative symbology is imparted by the stylised neon luminaire...deriving their forms from magical symbols and deconstructed graphic references relating to the implied narrative.

The colour field treatment of the base panels references a duality, order and chaos again interplay in disciplined and apparently random paint applications. The tonal values of the damask, counterpoised by the liquid paint runs, and the glitter regularity counterpoised by swept gestural impasto.

(The swept gestural impasto references the incised information found on a vinyl record, at the same time resembling lines if computer code... yet another form of linear narrative...)

The actual Linear Musing texts are derived from a collection of poems by Michael Scott... entitled... Little Usherette. They delve into a post Lynchian dystopic relationship between a cinema patron and an usherette, the object of his affection. Further Musings are derived from deconstructed advertising slogans, reassembled into cryptic statements and appellations.

The panels at the base of the works once again return to nostalgic origin, referencing the pastel chromatic banding found on the covers of 1960's Mills and Boon romantic novellas. A further level of symbolism is imparted by the nursery colours of powder blue and pink, which in turn act as a carrier for the aluminium lettered text... which is itself applied in floristry letters, normally reserved for funeral wreaths.... thus neatly encapsulating the cycle of life.

So in conclusion, what may at first resemble a decorative panel in an amusement arcade, is actually a symbol laden meditation on the infinite complexity of life and the complexity of dilemmas and opportunities it presents

STOP ME / BUY ONE (DIPTYCH) Acrylic, metal leaf appliqué, permanent marker, LED luminaries on MDF Unique, 228 X 81 X 8.5 cm (each)

Buy One / Stop Me This diptych utilises the reversed ice-cream van marketing appeal...' Stop Me and Buy One', as its intellectual genesis.

The AK47, the world’s most instantly recognisable weapon, is both the chosen weapon of the most courageous freedom fighters and at the same time the world’s most despotic tyrants.

The background colours and fairy light illumination of the base panels are derived from the naive graphic style of Afghan weapons bazaars, including the stylised shimmering lacquer runs. The weapon forms are executed in screen print and metal leaf with outline work in black acrylic marker. The applied text directly observes the irony of the arms trade... simultaneously appealing to purchase...Buy One; whilst at the same time either issuing a challenge or calling for an end to an evil trade... Stop Me!

WHAT'S UNDER YOURS? Spring steel, polystyrene pistols, US dollars on light box in heavy acrylic vitrine Unique, 189 X 76 X 27.5 cm

What's Under Yours?

Finding its origins within the steel spring matrix of a stripped down mattress, What’s Under Yours? Invites the viewer to consider the concept of concealment, of both wealth and weaponry, and their quasi symbiotic relationship. The pink and blue codification of the revolver forms question the male female relationship at the same time as bearing a chromosomal similarity. The cascade of sequentially numbered dollar bills down the centre of the work, with their rubber stamped prints of Over Valued, Under Priced, Over Priced, Under Valued further question the fiscal interrelationship of life, death, sex and money. The entire work is encased in a bullet proof acrylic vitrine for the safety of all concerned!

Mortagenic Specimen #1A Wood, bone, neon, acrylic Unique, 137 x 124 x 22 cm

Mortagenic Specimen #1A The vertically bisected and anatomically prepared skeleton of a fallow deer is displayed, mounted on reclaimed timbers from the roof of a Victorian church.

The combination of Thanatos and ecumenical antiquity is counterpoised by the

imposition of a vibrant pink neon outline of the body of the deer, soft and appealing, in former times, Thereby injecting life and modernity... completing the circle.

STRANGELY BEAUTIFUL Neon, metal, MDF. Framed Unique, 160 x 130 x 15 cm

Strangely Beautiful The rusted and bullet riddled steel plate at the centre of this work is incised and pigmented with a quasi-militaristic symbol, having no specific alliance but never the less radiating a sinister potency. The shimmering white pearlessence of the seamlessly lacquered ornate frame and background act as an immaculately

pure counter point to the dark centre panel whilst the overall aesthetic irony of the work is further emphasized by the text 'Strangely Beautiful' which is applied in pure' snow white' neon lettering.

Veiled Threat

VEILED THREAT Screen print on perforated steel, neon, mirror and decommissioned AK47 assault rifles Unique, 112 x 91 x 15 cm

The initial appearance of the piece (Veiled Threat) belies its true nature. What at first appears to be a straightforward, internally illuminated display piece begins to take on a greater resonance as your eyes adapt to the continually changing focal planes and luminosity levels.

Extended observation reveals the isometric deconstruction of the weapons on the front surface of the artwork’s frame, each weapon fragmented into its non-lethal, constituent parts.

Further investigation makes apparent the latent brutality of the paired East and West-facing AK47's, caged by necessity, within the steel box.

The hot, glowing neon subliminally conveys a need for caution in close proximity to the weapons, whilst simultaneously illuminating the rear surface of the perforated steel front panel, the reflection of which creates further depth and complex parallax effects.

The AK-47 rifles contained in the artwork are genuine USSR manufactured 1976 vintage, with authenticity and decommissioning certificates.

ELECTRIC Neon oxidized steel, laminate, French enamel varnish with LED luminaries Unique, 57 x 183 x 15 cm

Electric A long forgotten rusting sign, discovered in a recently uncovered air raid shelter, cried out for the reinstatement of its missing E. Beautifully crafted in hot red neon, this glowing initial breathes life into the long dead word, itself energised by inlaid randomly flickering high intensity LED's which in turn reflect off of the distressed stainless steel base panel. The

luminosity and coruscation of this work have Dangerous Minds trade mark variance when seen at different times of day as well as types of ambient illumination and angles of incidence.

RIGHT - WRONG (DIPTYCH) Oil paint, micro-spherical bead appliquĂŠ. Framed Unique, 112 x 80 x 5 cm

Right - Wrong This diptych plays with two ironic dualities. The paired, hand painted floral panels executed in seventeenth century Dutch style, were once the epitome of interior chic. They have transitioned through multiple states of desirability, reaching a contemporary state of ironic chic. By employing the simple conceit of inverting one of the images, an amusing and powerful signifier is delivered.

Their aesthetic has been revitalised by means of the application of a pair of counter point words... Right and Wrong... Executed in a highly contrasting mechanistic font, these texts are applied in micro spherical glass beads which when illuminated from certain angles appear to be almost back lit. When viewed in transition the words exhibit three specific states, seen perpendicularly they are virtually invisible, seen obliquely from the left they appear as non-reflective, and when viewed obliquely from the right they appear radiantly white. A third irony is that these transient qualities make the works almost impossible to photograph.

HOW HOT ARE YOU (4 panels) Neon, steel and enamel on plywood mounts Unique, 51 x 76 x 10 cm (each)

How Hot Are You How Hot Are You presents the viewer with a rhetorical question; or perhaps an emphatic statement. The hot red neon is superimposed onto progressively oxidising Fire Exit signs that simultaneously provide a supporting medium for the calligraphy and create an intellectual exit strategy from the implied question.

OIL Plywood, mirror laminate, tungsten luminaires, enamel paint and black acrylic base Unique, 220 x 145 x 20 cm

Oil Oil is a large free standing sculptural piece that also has the potential to be wall mounted. It embodies the brash vulgarity of mid-century Americana, utilising the quintessential American football team jersey font.

Unapologetically 'in your face' its miss-matched luminaires hint at a utilitarian history, and its chrome yellow laminated exterior standing in a puddle of crude oil, alludes to a vaguely Shell Petroleum affiliation...

Coming from a time that was apparently 'As Good As It Gets'... things can only get better...!

Solo Exhibitions • • • • •

2015 (London): ‘Order/Chaos’, Dangerous Minds Studio 2017 (London): ‘Illuminated Abstraction’ M&C Saatchi 2017 (London): ‘As We Step into Chaos’ The Underdog Gallery 2017 (Liverpool): ‘Panartum’ Fusion Festival 2018 (London): Poping Up The LAF, LAF Gallery

Group Exhibitions • • • • • • • • • • • • • • •

2015 (London): ‘Piercing the Veil’, Simmons & Simmons 2015 (London): ‘Let Them Eat Steak’, Mark Hix CB Gallery 2016 (London): ‘A Third Dimension’, Gallery Different 2016 (London): ‘Darkness Cannot Drive Out Darkness, Only Light Can Do That’ Lights of Soho 2016 (London): ‘The Christmas Faire’, The Underdog Gallery, London Bridge 2016 (London): ‘Paper and Bronze’, Gallery Different 2017 (London): Flourish, Espacio Gallery 2017 (London): FFOUND, Woolff Gallery 2018 (London): Kiss Masks, Gallery Different 2018 (London): Summer Exhibition, Bronwen Whitaker 2018 (London): Summer Showcase, Gallery Different 2018 (London): Punk Pop & Propaganda, Herrick Gallery 2018 (London): FFOUND, Woolff Gallery 2018 (London): More Popular than Jesus, Tileyard 2019 (London): Kiss, Gallery Different

Charity Auctions • • • • •

2015 (London): Gifted Art Auction 2016 (London): All Our Hearts Beat As One 2016 (London): Education for the Children 2017 (London): Art Around The Child 2018 (London): The Lost and Foundry Project

www.hayhill.com info@hayhill.com +44 (0) 78 0284 7571