My art is born from an animalistic world that calls to me, a world I do not understand, but I am extremely drawn to it. Every piece I make brings me that much closer to understanding this realm. I cannot define it, all I can do is bring these inspirations into temporal reality with my art. Luckily I have found ceramics and taxidermy and have been able to add to the effects with small metal work and detailed glazing techniques. These techniques have helped me realize my vision. I do not spend too much time critically dissecting the reasoning behind my artistic motives, and that is fine for me, because it liberates me and gives me the freedom to channel these inspirations without feeling trapped inside walls. All I seek in life is profound freedom, and I need that to transcend into my art. I am always creating something- when not sculpting I can often be found hovered over a wheel throwing cups for local restaurants or installing reclaimed redwood for local businesses.
My main entrance into sculpture precipitated from a love for the vinyl toys of the lowbrow art movement. I was drawn to the figurative focus of the forms and the narratives that they brought along with them. Each piece tends to tell a story of its own; while viewed together they fit into some kind of mythology only a contemporary mind can contemplate.
Colin Prahl’s intricate landscapes move between circuitry-like forms and psychedelia, each acrylic painting a wild display of illusion and vibrancy. From afar, the structures and contours contained within his works resemble urban environments.
“Working primarily in two dimensions, his pieces are influenced by architectural renderings, perceptual artifacts, optical illusions, logical puzzles, scientific, medical, and futurist illustration,” says Kate Oh Gallery. “These visual themes are blended together into densely detailed and colorful landscape-structures. Initially working in a purely abstract geometric space, the main focus of the paintings is moving towards more research driven illustration, aiming specifically at neuroanatomical functional diagrams in an ongoing series with an indeterminate size, while still experimenting with more open-ended geometric landscapes in other works.”