FoundationsInclusions Exclusions
Pan, woodcut monoprint

above left: Foundation
        woodcut monoprint mounted on boxes
        29” x 29” x 7 ½”  (each unit), 2008
above right: Inclusion, Exclusion
        woodcut monoprints mounted on prepared board
        6' 2” X 11'  (2 panels), 2008

left: Pan, woodcut monoprint, 96” x 216” (18'), 2007
below: Beneath, woodcut monoprint, 30” x 130”, 2006

Beneath, woodcut monoprint

Inclusion/Exclusion, woodcut monoprint, 74"x120" (10 ft.), 2004 Celeste, woodcut monprint, 74' x 120" (10 ft.), 2002
Inclusion/Exclusion Celeste
Emergence, Variation, 2 sections, detail, Hydro-cal casts mounted on steel sculpture, 96"x192" (16 ft.), 2006
Emergence, Variation
Emergence, Variation, 2 sections, detail, Hydro-cal casts mounted on steel sculptures 96"x192" (16 ft.), 2006

Emergence, 5 of 8 sections, woodcut monoprints, mounted on steel sculptures, 96"x192" (16 ft.), 2005

 untitled, woodcut monprint, 74"x108" (9 ft.), 2004

Emergence, Variation (detail)

right: Entropy, woodcut monoprint, graphite drawing, 74"x240" (20 ft.), 2004

 Emergence untitled
Entrophy

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Faculty, Art Department, Washburn University
Washburn University, 1700 SW College Ave, Topeka, Kansas 66621
WASHBURN UNIVERSITY | National Association of Schools of Art and Design
 

 

Michael Hager, Lecturer

Michael Hager, Lecturer-MFA from the University of Iowa, 1999
      printmaking major
      sculpture minor
- MA  from the University of Iowa, 1998
      printmaking major
      sculpture minor
- BFA from Washburn University, 1992
      sculpture major emphasis
      printaking minor emphasis
- Associate Certification from Kaw Area Tech. School, 1984
      technical drafting
Online vita available as a PDF download. A PDF viewer is available for free download online from Adobe.

michael.hager@washburn.edu
Courses Taught: Black & White Design
Sculpture
Printmaking
 


My Creative Work:

“…all you touch and all you see is all your life will ever be.”
—Pink Floyd, Dark Side of the Moon

Whenever I see an image of one of the hand prints on the wall of the Neolithic caves, or a picture from Yves Klein’s Anthropometry series, I think about the moment that the body or the part of the body made actual contact with the surface. Touch, as well as taste, is the most intimate of our senses. We can see at great distances (stars and galaxies), we can hear things a mile or two away (trains and airplanes) and can smell aromas within a building (the kitchen at the other end of the house). However, to touch an object or a person, they need to be within arm’s reach. This intimacy, this directness is what I believe to be the starting point of how we perceive the world. Our sight, hearing and smell can fool us into believing something that does not actually exist. These three modes of information need a medium to carry it to the sensing organ (hearing and smelling needs air and sight the light spectrum to travel). But to touch something is to experience it directly and to acknowledge its existence.

Michael Hager
09/13/2008

—Select a thumbnial to see the larger version.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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