“King Cuts”

Sculpted at 1:4 scale, each piece here is 18 inches tall, or long. Mike carved the large body sections in western red cedar and yellow cedar. He hand-sculpted polymer clay onto the wood, cured the assembly to a rigid finish, then hand-painted all with light acrylic washes.

For years people have doubted that a human makes Mike’s work. He can sand out every imperfection until he’s gone, but it gets him in trouble. He has to leave some wood un-carved. If smoothing away a cut isn't integral to the story, leave it. Smoke and mirrors aren't always necessary.

Mike cut the directors from wood blocks like a director cuts a take or reel to realize their vision. Their body succumbs to the pressure, physically consumed by the work. They commit to a story at every slice.

By the 1800's, it was thought photography might “kill” painting. Then modern art got off on individualism. Film crystallized it with French new wave, and the auteur was born. An individual’s singular, deeply personal vision shouldn’t be compromised. By stewarding the auteur and the magic of storytelling, largely projected pictures won. Of all the places where art is still alive - on skate decks, tattooed skin and sprayed painted walls - it shines brightest on the silver screen.

Art and film are medicinal magic. They trick us into remembering why this world is so damn beautiful. An Art Army was assembled to defend this beauty. The army defends its front line. A class of king visionaries call shots from behind these ranks. They see the path. They decide what lives and dies. They edit. It’s no longer a secret. Their story must be told, even if it means relinquishing Mike’s magic tricks. These are the King Cuts.