• now here, nowhere

    wood, drywall, performance, grapefruits, collages, video, refrigerator, the taste of "sour"
    variable  |  2016

  • will, ways, and always

    plaster, small ironing board, lamp
    50 x 40 x 9 inches  |  2014

  • The Progression of Regression

    antique wolf pelt and taxidermic german shepherd
    73 x 49 x 42 inches  |  2010

  • Consenters, Resenters, and Dissenters

    reclaimed wood, steel, velvet, etc
    variable  |  2015

  • Consenters, Resenters, and Dissenters

    reclaimed wood
    78x80x11 inches  |  2014

  • Resurrecting Revolt

    C-print of public intervention enacted at Cabrillo National Monument. An aerial advertiser flew a banner counterclockwise around Point Loma in California. The banner was printed with the final words of Chief Antonio Garra. Chief Garra was captured and exe
    variable  |  2015

  • Honeydew Cantaloupe

    1) I documented a large pile of scrap steel at a junkyard in Omaha, NE 2) I then purchased the entire pile of scrap and moved it back to The Bemis Center for Contemporary Art 3) Using the documentation I reassembled the pile, piece by piece 4) I next wel
    vinyl prints: 72x50 inches each  |  2014

  • Honeydew Cantaloupe (moving)

      |  2014

  • futureplans for a prior night

    photograph of tidal pond, candles, wooden stakes
    35 x 52 inches  |  2013


Chattanooga, TN | Sculpture, Mixed Media, Time-based, Sound, Performance, Installation

Mike Calway-Fagen is a visual artist, writer, and curator temporarily based in the Midwest where he teaches at the University of Indiana, Bloomington. He received a BFA from the University of Tennessee in Knoxville and an MFA from the University of California, San Diego. Mike has attended the Skowhegan School of Painting and Sculpture, been a Fellow at the Fine Arts Work Center, the Bemis Center for Contemporary Art and Franconia Sculpture Park. He has exhibited extensively both nationally and internationally; most recently he held solo exhibitions at Ditch Projects in Portland, OR and participated in a two-person exhibition at the Soo Visual Arts Center in Minneapolis, MN.

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During a sketch comedy performance an actor follows a script and is expected to perform in tune, with eventual laughter the outcome. At times, not everything goes as planned. These professionals stumble, they break character, and even laugh at their own botched attempt at mastery. They become unstuck, they are neither performer nor audience and aren't laughed at or with. They are something entirely different. When we laugh as Gilda Radnor can't hold it together we experience what collective vulnerability is, how frail the body and mind are, and how redeeming empathic embarrassment is.

The fourth wall splits audience and actor creating codified spaces and performances. Reality really is a membrane and these two seemingly disparate entities spit back and forth, exchanging information, materials, and impacts.

I re-approach all things with this in mind. How might a sculpture, video, photo, collage, or whatever stumble right along with the viewer, breaths held, eyes open.

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