My recent work uses a historical drawing technique called micrography. My own interpretation of micrography deviates from tradition in several ways, primarily in that I substitute secular texts for religious texts and that I use my own inconsistent handwriting instead of methodical script. Moreover, traditional micrography would represent a short passage on an intimate scale. I use whole chapters or whole books on a grand scale. This shift moves the technique out of the realm of personal devotion and into the realm of the sublime – raising questions of artistic labor and psychological endurance.
For some viewers, the scale, the technique, is enough. For me, it is not. The texts and images I choose and the relationship between the two are at the conceptual heart of the work. These are worlds made of words that draw upon a historical quest for knowledge and for political progress – a quest often at odds with social reality.
2009 Schroeder Romero, NYC.
2007 Schroeder Romero, NYC.
2009 10th Havana Biennial: Chelsea Visits Havana. Engagierte New Yorker Kunst in PRENNNG. Austria. Superfine. Morgan Lehman. Survive. DiverseWorks, TX.
2008 More Than Words. Von Lintel.
2007 Nightly News, Luxe.
2006 Text Formed Drawing. U of Conn.
2005 Evan Schwartz, Michael Waugh. Schroeder Romero.
2004 Face Off. Ronald Feldman Gallery.
2002 Made in Brooklyn, selection one (curated by Phong Bui). Wythe Studio, NYC.
2009 Solution: DiverseWorks. Art Lies.
2007 Michael Waugh: ‘Lead Me Astray.’ The New York Times.
2005 Michael Waugh at Schroeder Romero. Art in America.
Evan Schwartz, Michael Waugh. The New York Times.
2004 Face Off. The New York Times.
Facing Off with the New World Order. NYArtsmagazine.com
2003 Around Town: Decade. The New Yorker.
Marie Walsh Sharpe Space Award
2008 Brodsky Center Residency