Emmeric Konrad's work has been compared to the edgy pop artists of the late seventies and the early eighties with an added degree of perversity. Following an intense period of time in the search and rescue branch of the Marines, Emmeric spent four years of formal experimentation with paint and technique at Otis. The results are as contrary as his experiences. With crude images of pigs, dogs, mice, and people with exaggerated attributes, Konradís paintings are humorously manic expressions of innocently troubled characters interacting, and willfully acting out.
High Octane 2000
Sensory overload- nine beers drinking three BigMacs no fries, no fries! Screaming through the Mcy Dís drive through on a motorcycle Zen momma tripped out paintings, the world, downtown, LA: chaotic blend of pus- mucous, vomit, laughter and tears. Relationships in house paint and cattle marker love, disease, television -docudramas, political ambushes and backstabbing. The entire bubbling churning cauldron of modern life blurring by the megabyte. In your face double barrel attacks, oversensitized desensitized blitzkrieg fallout of anticultural culture bias-blasÈ bullshit, wetdream nightmare realities at two in the morning with earthquake locust Armageddon spouting gunfire crap, fuck, fucking, fornicating ecstasy condom cuming ten inch love muscled death, laughter life and tears of joy. Decapitated Barbie doll beautiful America, closet Ken and our Lord Mickey Mouse lawsuit pending bible burning big white heterosexual self-emasculating placenta chugging happy ignorant bliss-filled masturbation.
-Emmeric Konrad, Los Angeles, 2000