McKenzie Fisk, an LA based visual artist, is (yet another?) an exponent of the realistic painting so popular today.
Begging to differ – it is realistic only in expression, but not as far as the subjects are concerned.
The instances depicted in his works try to express life in an unadulterated way – that is, in the pure, simple, investigative and unprejudiced way of children and of animals.
He uses animals to represent the innocence and agility of childhood, an undiluted view of the world.
And his subtext message should be of emotional inspiration to any viewer – biased or not, it is a healthy personal development experiment to uncloud the distorted, per-conceived views upon the world and reengage in the pure, sensorial, moment-based mindset of our childhoods.
Fisk’s paintings have an unusual happy-and-at-the-same-time-sad core: joyful to see animals living happily next to humans (and to remember those times in our own lives) and rather melancholic to realize that this world is too far off from our daily reality (in which animals are far away, exposed in zoos or pet shops, but certainly far from our reach).
We see kids dancing next to swans, walking with wildebeests, lying with tigers, eating with tigers, blowing bubbles with giraffes, dancing with penguins…
When and where would such a peaceful, natural, collaborative world be possible?
McKenzie also crossed a “blue” period, with which he no longer identifies – it seems darker, the product of a more troubled time.
More abstract shapes, women together with animals and vices are the key elements of the blue phase, in which clearly he hadn’t had yet the childhood artistic regression and he was more inspired by day to day vices and habits.