MIGUEL STARCEVICH

 Canvas and body confront one another as parallel sites of construction in Miguel Starcevich’s practice. His paintings build figures through layered gesture and structural fragmentation, treating the surface as provisional anatomy. In parallel, his human-based works extend this inquiry into physical space, using the body as both imprint and interruption. Across both modes, the figure is constructed, destabilized, and revised. 

Miguel Starcevich’s practice unfolds across two material languages—canvas and human sculpture—each anchored in the figure as an unstable construction. His mixed-media paintings use tape, cardboard, plastic, oil crayon, and spatula-driven acrylic to assemble surfaces that evoke skin: provisional, marked, and vulnerable to rupture. These compositions resist clean resolution, revealing seams and erasures that echo bodily adaptation.

Parallel to these works, Starcevich develops live sculpture using nude human bodies as both subject and medium. These ephemeral interventions extend the same questions into physical space: How is identity assembled, stripped, or re-coded through surface, gesture, and context?

Across both modes, Starcevich treats the figure not as image, but as site. The work sits in conversation with artists like Mark Bradford, David Hammons, and Carolee Schneemann—where residue becomes language, and embodiment is both subject and strategy.