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Artist Statement:
“Michael Fornadley, a painter
from Pickerington, Ohio,
labors under no illusion of
plausibility, since his quirky
tempera tableaus depict the
odd antics of characters
acting out improbably,
confrontations in a theater of
the absurd.”
The New York Times, 1998
All my life I have been
creating images out of my...
Further Information
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Artist Exhibitions:
ONE-PERSON SHOWS
1991 The Dell, restaurant &
gallery, Columbus, Ohio
1998 ACME Art Gallery,
Columbus, Ohio
2005 Gallery "M",
Dublin, Ohio
GROUP EXHIBITIONS
1994 Carte Blanche, Columbus
Museum of Art, Columbus, Ohio
1995 Invitational Award
Exhibition (Columbus Art
League),
Columbus
Museum of Art, Columbus, Ohio
1998 Boyd Gallery,
Willmington College, ...
Further Information
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Artist Galleries:
Coming Soon!
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Collections:
Acme Gallery Auction, ten
private collectors, Columbus,
Ohio
"The Graven Image" private
collector, Columbus, Ohio
"My Easter Painting" Columbus
Museum of Art, Columbus,
Ohio...
Further Information
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Commissions:
Coming Soon!
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Reviews for Michael Fornadley:
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"...Michael Fornadley's four paintings. Mostly in dyptych formats, confusing but terribly enticing frantic human movements are about art making (The League), human relationships (Turtle), and politics (The Spirit of Molech). Temptation, preaching, and amusements confront his familiar-looking, thirty-something-year-old characters. In Mene Mene Tekel Parsin, two regular guys sit on large turtles, guarded by a winged man. On their right a preacher works from a book for their attention, while a crucifix and a capitol building loom in the distance, but in the foreground a Sporting Life character in a white suit poses against the shiny grille of a red sedan."
Columbus Museum of Art, Columbus Dispatch "June 1993
"...Michael Fornadley's narrative paintings on wood owe much to the work of Max Beckmann, who frequently incorporated ambiguous psychological themes. Fornadley paints groups of figures interacting, often in disturbing ways that critique society. The viewer is confronted with the defining power of collective, rather than individual forces.
One side of the painting Museum Piece (1993) shows an artist painting in a studio. Nearby, a figure points into a museum room on the other side of the painting. There, a man in a tuxedo - is he a museum director, a curator or a critic? - aims a connon at the artist."
Extending the Portrait, Fort Hayes, Columbus Disptach
March 1996
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