Chinatown 2017

Curator: Here we have David Michael Hinnebusch’s mixed-media painting, "Chinatown," created in 2017. Editor: Wow, what a primal scream on canvas! It's raw, energetic... a little terrifying, like a dream you can't quite shake off. That central figure practically vibrates. Curator: Indeed. The painting is striking, deploying a vibrant, almost frenetic energy through its use of mixed media, including what appears to be acrylic paint, and layered imagery. We observe an amalgamation of abstract figuration with strong Expressionist leanings. Editor: I get a strong graffiti vibe, too. Look at the bold lines, the layering. There's a story fighting to get out, or maybe several stories all crashing into each other at once. The colors are bold. That juxtaposition between the raw, expressive strokes and the figure in the background, enclosed in the grid like some anatomical sketch. Curator: The grid and that anatomical figure introduce a conceptual framework, contrasting the spontaneous, gestural marks with structured, almost scientific representation. It evokes questions of identity, perhaps the tension between exterior presentation and internal form. We see Hinnebusch deconstructing conventional portraiture. Editor: Definitely a deconstruction, almost violent. But it makes you feel something, doesn't it? That's what I look for in art. It doesn't just sit there; it demands your attention, wrestles with you, haunts you a little. It's like stumbling upon something ancient in the middle of a hyper-modern cityscape. It stirs the soul. Curator: Certainly. Its raw, unapologetic approach pushes the boundaries, inviting critical examination of contemporary artistic practices, offering fresh ways to depict ourselves and others. It refuses passive observation. Editor: Yeah, this piece stays with you. The intensity... I'm still processing that face! It's a visceral jolt. Curator: Indeed, and that is a testament to its artistic merit, I’d argue.