Born Ann Arbor, MI, 1978 / BFA, Eastern Michigan University / Lives in Ann Arbor, MI

John Maggie practices an exuberant form of syphilitic painting, a disease of imaging afflicted merrily upon the construct of painting itself; a good-humored sickness that attacks the root of pictorial convention. This is both painting and anti-painting. Maggie takes the banal trappings of tradition—the landscape, the still life, the nude, the maritime, the equestrian—and joyfully slings mud at them. In a work such as Frankly Feather (2019), there is an embrace of thrift store painting—found images that allow the artist to revel in failed attempts at image-making where notions of good and bad are jumbled. (A painting is good because it is bad.) Adam & Sue (2015) is both right and wrong: the proportions of the figures are off, the composition is imbalanced, foreground and background seem dislocated. Comedy results as the frolicsome beach couple are clumsily sexualized, with Sue’s breasts squeezing together above her distended belly and Adam’s erect penis glowing and pointing toward a branch. Within a single work, Maggie uses clashing approaches to representation, as Sue’s tightly rendered face is partnered with Adam’s ham-handed visage. In Night Rider (2018), he renders illusionism absurd and the oft-applied conception of conventional beauty as useless. Employing an abject Romanticism, he one-ups English horse portraitist George Stubbs (1724-1806) and pushes his regal subject into outrageous theatre with excessive baubles evocative of My Little Pony.