The Ohio Artist Registry (OAR) is an exciting opportunity for artists to share their work, connect with the creative community, and establish an online presence—all on a free, virtual platform! The OAR encourages artists working in all art forms, throughout Ohio and beyond, to create a profile, which allows them to better promote themselves and their work. Being listed in the OAR provides artists with new opportunities to share their work with clients, galleries, patrons, and audiences. A listing in the OAR does not confer an endorsement, approval, or verification by the Ohio Arts Council.
For more information, contact Kathy Signorino, artist programs director, at kathy.signorino@oac.ohio.gov or 614-728-6140.
2024 Ohio Artist Registry Juried Exhibition
Myles Dunigan
2D Studio Manager and Lecturer Oberlin CollegeStudio ArtBio
Myles Dunigan is an American artist and educator born in Massachusetts. His work addresses ecological anxieties and the role of technology in imaging the natural world through the apocalyptic and the uncanny. Dunigan was trained as a printmaker at the Rhode Island School of Design and holds an M.F.A. from the University of Kansas. His recent exhibitions include the International Printmaking Center of New York, the Boston Public Library, the Far Eastern Museum of Fine Art in Khabarovsk, Russia, and Modern Eden Gallery in San Francisco. Dunigan currently works at the University of Florida and Santa Fe College, and resides in Oberlin, Ohio, where he is closely monitoring a bird’s nest constructed in a discarded cardboard box.
Artist Statement
My work dissects the relationships between imaging technologies, climatological anxieties, and our liminal experience. Playing off trends of scientific skepticism and conspiratorial thinking, I employ a crypto-documentarian methodology to build uncanny realities that are neither completely factual nor fictitious. These worlds exist in digital models and photographic alchemy, shrouded in unsettling familiarity. Trained in printmaking, I approach images as ever-shifting layers, blending together drawings, prints, and photographs, allowing moments to calcify as others erode. Styrofoam rocks populate prairies. Digitally generated fog obfuscates rocky coastlines. Handwritten notes hide in laser-burned passages. Sometimes apocalyptic, sometimes meditative, I meticulously distill the visual histories of ecological disasters with an imperfect digital language to ultimately arrive at no-place, nowhere: the culmination of our collective anxiety.
Much of my current practice revolves around creating artifacts and images of imagined worlds where nature and technology have left humanity behind. This narrative is woven into works on paper with the language from an unseen, eco-poetic narrator. Prints and paintings become a method of documenting a chaotic, twisting landscape of 3D scans, laser-engraved photographs, and machine drawn images. Inspired by the provisional nature of scientific notation and doomsday preppers, I craft ephemeral objects culled from my personal archives of slides, models, and field notes. We live in a precarious era marked with pandemics and ecological disaster; my aim is to craft a beautiful warning, a non-linear ecological history tinted with the uncanniness of our devices.