Balloons 2003

Curator: Standing before us is David Michael Hinnebusch's "Balloons," completed in 2003. This mixed-media piece is part of a private collection, blending figuration and abstraction with apparent influences from both graffiti and expressionist styles. My initial impression is somewhat chaotic, like a dreamscape turned inside out. What leaps out at you? Editor: The energy, definitely. It’s a raw, almost primal scream rendered in paint. Those dominant reds – a massive, almost toothy arch – evoke something powerful, perhaps even threatening. Yet, underneath, there’s a suggestion of tenderness. Are we looking at a fragmented self-portrait, perhaps? Curator: Potentially. Given Hinnebusch's artistic focus, the portrait element isn't a stretch. Look at the eyes peering through the abstract layers, or the faint outline of the human figure near the bottom, cradling a collection of small, colored circles. Do they remind you of pills, or perhaps some rosary beads? The symbolism feels intentionally ambiguous. Editor: Exactly. Ambiguity is its strength. The title, "Balloons," seems almost ironic considering the weightiness of the imagery. The can of "Balloons" is a curious focal point, acting almost as a totem. It could represent the fleeting nature of joy or perhaps the hollow promises of escapism. Even the graffiti-style tags add layers of meaning, speaking to ideas about self-expression. Curator: Absolutely, and there's something really arresting about the artist choosing a commercial motif when depicting what feels like very interior terrain. Do you agree that this "balloon" feels like a psychological device, maybe? Even the use of what seems like house paint gives the effect a rougher, working-class aesthetic. Editor: That rawness adds authenticity, a sense of immediacy. And psychologically, yes, it hits home. We're bombarded by cheerful images of balloons and carefree happiness, so the contrast here speaks to a universal tension. Think of balloons as visual cultural memes – a symbol everyone relates to differently according to their life story. This rendering challenges us to question those pre-packaged feelings. Curator: Well said. The way Hinnebusch fuses disparate elements, like recognizable objects, abstract brushstrokes, and those intense colors creates an emotional complexity that continues to resonate long after you look away. It asks the viewer to construct their own narrative and I love when a piece can create an instant conversation. Editor: A fragmented yet compelling dialogue, like the one within ourselves. Hinnebusch has given form to the cacophony, inviting us to join the fray.