Michael Indorato is a prolific painter who has been active since the mid nineties, with style which both draws from his surrealist forefathers and is uniquely his own. Based in New York, his exhibits range from the Agora gallery in Chelsea to Art Expo NYC. A kind of art that reaches all audiences, he even shows monthly in Trump Tower. However his work is not apolitical, rather addressing issues that every part of the emotional and civic spectrum can relate too.
While avoiding exclamatory intention, Indorato weaves a surreal landscape populated by ideograms a la “Americana,” conveying a tone far more paranoid than patriotic. Ants leave their young cradled in a guitar’s body and march towards pyramids of chrome, warping perspective in a manner reminiscent of the Frida Kahlo and Isabel Allende’s magic realism. Through contrasting color value and striking detail, it is the Bald Eagle clutching the egg within its talons that draws our focus. The predatory creature’s form blends amalgamous into a sky of mauve and violet raining fire from the heavens on the insect dreamscape below. A quiet type of imperative, without insisting confrontation, in no way is Indorato’s work conciliatory decoration or for the amiable collector. Dated nearly two decades ago, Michael Indorato’s captures the anxiety of a generation of artists faced with a turning century through timeless symbology. Those idols that endure our fickle humours to represent the most perennial of American traditions, a grandiose agitation and tumultuous uncertainty.
The piece is not in pristine condition, we suspect it was thrown in a closet. Painted with acrylics, it has cracks which attest to its age but may bother some.
