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ABOUT THE ARTIST

Look. 
                        Look again.

Welcome to the World of Karl Unnasch.

Jump to:          Artist Bio     |     Artist Statement     |     Curriculum Vitae     |     Affiliations

Karl Unnasch in Studio

Artist Bio

A rugged farm upbringing streaked with a penchant for the surreal: This has been the driving force behind the work of Karl Unnasch. With decades of expertise in wood, metal, stonework and stained glass, phantasmagorical combinations of media have become his hallmark. Backed by a comprehensive education in the arts (MFA 2003), his notions morph into works that knit together sources of collective memory while ringing with an element of his own whimsy.

Unnasch’s smaller-scale work has been exhibited as far as Europe and acclaimed in publications such as the New York Times and Art in London Magazine, while his larger-scale, award-winning public art has been featured on the likes of NBC’s Today show, Reader’s Digest and Voice of America. Notably, his work has also been included with multiple mentions in the esteemed Davis Publications school art textbooks, paving the path toward the enduring iconic incorporation of his work into the American art timeline, consciousness and culture. 

For well over a decade, Unnasch has focused primarily on public and architectural art, typically incorporating backlit stained glass into sculptural installations. His work adorns educational facilities, banks, theaters, libraries, museum grounds, businesses and public gathering spaces across North America.



                          See Artist Statement below.




Burnt Matchstick

Artist Statement

Our memories are flavored and, in turn, so are our perceptions of the world around us. The choices I make as I assemble and process data and materials are intended to tease out notions of reminiscence in the viewer. 

My point of view remains decidedly that of a Midwestern Ruralist — one whose ties to an idealistic country/small town life are chosen, not incidental. It is my conscious effort to exist within a community of dedicated hard workers such as farmers, teachers, laborers and the self-employed brothers and sisters of Sisyphus. It’s no accident that I seek out iconic imagery and objects that elucidate my ever-expanding experiences within a rural, blue-collar setting. Concepts of isolationism and seclusion are often inherent in my subject matter; with this in mind, I remain deliberately aware, broad-minded, sympathetic and curious, focusing on travel and dialogue with the world at large to maintain an expanded perspective. These practices, in turn, spark additional insights into how an isolationist culture and the rest of an urbanized dominion have a two-way, shifting conversation of cooperation and conflict.

I thusly refine a visual language that becomes a zone where identity, value, memory and record are gleaned, processed and addressed. An overriding “conflict vs. cooperative” heartbeat stems from thematic conversations of work/play, the adult/the child, the aware/the naïve, the planned/the instinctive and the connected/the remote. As I process materials into a finished product, narratives coalesce, accentuating reminiscences whilst becoming new yarns.

I see it as my job to provide narrative pleasure for all who experience my work: The joys and curiosities generated by art should be accessible to everyone, not just to a select few. In response, it is my aim to create non-discriminatory aesthetic niches of discovery which viewers of all ages — and from all walks of life — can access, ponder and enjoy.