photo credit: Ves Pitts
If I were to start giving out prizes for artists with the most amazing names, Inbred Hybrid Collective would be wearing the red ribbon. It reels me in like a floundering fish at 
sea and I want a taste. Art as a concept and a social experiment, I like. Art should be stuffed with emotion which reflects the world around us as long as it doesn’t end up being just a series of doughnut still lives (unless well done). Inbred Hybrid Collective ” is not committed to any one medium in the exploration of a concept.”
Accidental Bear’s Mike Enders asks about New York art rivalries, current art project, The Bernstein Bears, whether or not depression or mania
enhances an artists art work and many more intrusive questions. Inbred Hybrid Collective has undeniable authentic artist sensibility and is a damn hunk to boot. Gallery walls are flooded with “art” but a small percentage gets me up out of my plush lazy boy to see in person. All my senses are tickled while investigating Inbred Hybrid Collective. I would take planes, trains and a crazy crack head taxi rides to get glance at I.H.C’s work and marinate in the soothing energy that surrounds this artist.
“I would be doing the world a favor if I stabbed you in the eye.”. Acrylic on canvas, 24x36
Inbred Hybrid Collective was established in 2005. Our mandate is to stimulate a consciousness of the external factors affecting our human existence. The type of interventions associated with Inbred Hybrid Collective, achieved as artistic concept, constitute a provocation for the public to reflect upon the influence that this immersion has had upon them. Our work has appeared in venues as diverse as the Liverpool Independents Biennial (visual installation),Queens Museum of Art (sound art), Deitch Projects (film), Bereznitsky Gallery, Berlin (conceptual), World of Wonder Gallery, Hollywood (video installation) and the Ontario Crafts Council (visual installation). Uncredited appearances include the cover (and throughout) Slava Mogutin‘s NYC Gogo due to visual installations we did through Slurp, set design for the IFC Halloween spot on the Voluptuous Horror Of Karen Black, who we also assisted at the Whitney Biennial, and an acting role in Michelle Handleman’s “Dorian.” In 2009 we made history as the first sanctioned performance artist invited to perform at the Armory Art Fair, but we are not committed to any one medium in the exploration of a concept.
Accidental Bear 
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