Inner and Outer Limits
Michael and Ian Young at Todd Weiner Gallery
The Young family’s creative blood spans generations. Michael Young, father, and Ian Young, son, are not the first in their family to have a knack for art.
Great Grandfather Young’s work still hangs in Michael’s home, while Michael’s father continues to paint to this day. Ian has decided to follow in the family legacy with his collection of board game paintings, and his father Michael couldn’t be more proud. He says:
“I’m so proud my son Ian has chosen to carry on this tradition, watching him progress and evolve is highly rewarding. Each time one of us raises the bar, the other wants to raise it higher, and our enthusiasm and motivation continues as we are feeding off of each other.”
Along with exhibiting a family dynasty, the connection between the two artists continues with the theme of the exhibition, which explores inner and outer limits. Michael and Ian’s works are relational through this thematic connection, even as they remain entirely individualistic in both surrounding subject matter and style.
The duo describes this approach as an exploration of the boundaries of what an artist can paint from the naked eye. They explain inner limits as compositional elements that are easily recognizable: a hometown, a local business, or a well-known landmark. The outer limits, according to both artists, are places very few people get to see such as: outer space, the darkest depths of the ocean, sunken cities, or places of undiscovered paradise. Both artists will exhibit a painting illustrating the familiar inner limit, and the unfamiliar outer limit.
Son Ian Young’s subject matter for this dual show is board games. Each board game painting mirrors the physical flat game with a painting style that showcases the bold colors independently. Many of his pieces, although playful at first glance, provide a deeper meaning reflecting social and cultural commentary. The board games challenge the viewer’s perception of society by illustrating the cynical side of life through humorous depictions and bright color.
Ian describes his art as “starting as a blueprint.” He explains: “Basically, the ‘blueprint’ becomes more complex, and I take each painting one step further than the last in terms of angle, layout, perspective, and design.” The premeditated compositions maintain a compound “blueprint” layout resembling the real game. Ian’s work evolves from this compositional design into a burst of layers illustrating his creative intentions to bring the game to life.
An example of this can be seen in one of Ian’s newest works, Jumanji, a game that originated from a 1995 American fantasy adventure film. The top layer consists of a winding board game with a start, finish, and many stops in between. The lower layer illustrates the fantastical world of Jumanji with lakes, grass, and all the animal obstacles one would have to overcome if they chose to play.
Overgrown foliage and enlivened animals overlap the top of the game, giving the piece a richly layered and imaginative feel. Young creates a physical game that becomes a real place. Ian describes Jumanji as a past inner limit, because our ancestors regularly saw primal animals and landscapes. Young’s brightly colored, fantastical game world consumes the viewer, making the audience want to jump right in and play the game.
Father Michael Young’s subjects contain an element of humor, while his stylistic approach reveals both surrealism and regionalism as influences. His work contains layers of hidden meaning created by futuristic imagery, punctuated with a nostalgic feel. This can be clearly seen in Saucer City, where a futuristic UFO fuel station has become deserted and desolated. Young combines this image with wistful retro influences, giving the work a considered connection with times past. Years gone by can be seen in the Saucer City sign, where a reference to a 50s diner is realized through a vintage pick-up truck, and cars from the same time period that line the bottom of the composition.
Michael explains his idea: “Spacecraft and rubble become one in the same after light years of neglect.” This painting represents the outer limit of space with a welcoming and nostalgic twist, inviting the viewer into this imaginative realm.
The painting The Wizard is a playful approach to the classic film The Wizard of Oz. Michael starts with a real place, Kansas, and transforms it into a watering hole full of character and imagination. Each personality from the film is illustrated, whether they are skinny-dipping in the water, like Dorothy, or riding a bike across an illuminated yellow brick road. Each character remains individually busy, and thoughtfully portrayed, through Young’s regional and reflective style.
Both Michael and Ian Young provide inventive worlds that pique the viewer’s curiosity to discover themes and commentary spoken through their paintbrushes. Both father and son are exceptional colorists, and both use humorous elements to illustrate cultural connections through theme, ultimately providing the viewers with a whimsical and harmonious experience in the exhibition, Inner and Outer Limits.
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