Mike Rea, I Will Stand Next To The Worn Patch of Grass and Wait

By SUSAN GESCHEIDLE

Photos by Bertran Productions

Learning that Chicago native Mike Rea, now teaching at Northern Illinois University in DeKalb, was presenting a monumental solo show in Philadelphia necessitated a pilgrimage. Having followed his wild creative process for two years, seeing the culmination of three years of studio magic in “Mature Works” at Bertrand Productions was an unmissable event. It was a worthwhile trek. Words struggle to do the show's brilliance justice, but I will attempt to capture its essence by focusing on several standout pieces.

In Rea's world, nothing is unintentional. The long, convoluted titles—nods to famous poems, novels, song lyrics, etc.—serve as a key entry point, leaving a delicious trail of breadcrumbs that hint at the intricate layers of meaning within each piece if you're willing to follow the path; indeed, a whole review could be written about the titles themselves. Ultimately, the exhibition functions as a form of personal storytelling, with a few pieces serving as subtle self-portraits offering viewers a glimpse into Rea’s very being. His defining characteristic, above the rich symbolism and historical allusions, is an absolute mastery of craft; he meticulously executes every detail with zero compromise, elevating the work through sheer technical precision. 

Tucked away in a former textile factory in the artsy Fishtown neighborhood, Bertrand Productions uses its raw architectural character—lofty ceilings and concrete floors—as a perfect backdrop for Rea’s show. This spacious, industrial-style venue, run by Joseph Leroux and his wife, Stacey Lee Webber, provides the necessary room for Rea’s sizable, grandiose, and mesmerizing pieces to breathe and command attention. 

Step inside, and you're immediately face-to-face with two towering, commanding sculptures. Their striking height and vibrant colors pop with the same larger-than-life energy as Rea himself, perfectly setting the stage for his signature, attention-grabbing style.

Mike Rea, High Tuffness

Rea’s prior works have mostly been natural wood sculptures, making this intense color addition a new and surprising direction. For several standout pieces, he fully embraces “vivid veneers and garish paint finishes,” resulting in high-saturation, high-gloss surfaces with a brilliant, synthetic shine. The glass-like vibrancy is a "sugary spectacle," reminding me of glossy old-school candies like Skittles and Jolly Ranchers. This exciting shift bridges his established style with a fresh aesthetic, likely resonating with longtime admirers. While purists might find the color overshadows the wood's subtlety, within the current context, the color seems exactly apropos.

First up, Rea delivers a witty, 'Giacometti-esque' punch with his emaciated figure, titled The Woods are Lovely, Deep, and Dank; I Have Miles to go and Bongs to Rip Before I Sleep. The 85” tall sculpture consists of approximately 46 carved, vivid bongs, with cannabis in the bowls (the piece is made of poplar and pine coated in shiny paints, dye, and polyurethane). Fondly known as the 'Walking Bong Man,' this figure might be interpreted as a lighthearted self-portrait referencing one of Rea’s favorite pastimes—what he refers to as a way of 'rounding the corners of the day.' This inspired work elevates mundane objects and countercultural themes, leveraging the visual language of a revered master in an unexpected way. While some viewers might miss the artistic and cultural commentary, the work successfully integrates pop culture with high art in an engaging way.

Now, meet the legend: High Tuffness, a 16" x 16" x 27” dog sculpture also made entirely of bongs. This smaller companion piece is Rea's heartfelt—and aptly hazy—tribute to his most loyal canine companion, Doctor Tuffy. Mounted on a platform and accented with a wooden lighter, this cheeky sculpture perfectly encapsulates their inseparable bond.

Mike Rea, Everything Needs Something Holy Ghost Oxford Commas (A Simple Heart)

Arguably the show's most intricate and deeply personal work is Everything Needs Something Holy Ghost Oxford Commas (A Simple Heart). Reaching an impressive 10 feet, 1 inch in height (32” x 23” at the base), this tantalizing sculpture alludes to a bold and unapologetic intimate experience. Its foundation is rooted in Rea's own anatomy, with the base created from four vivid blue replicas of his left leg that he cast himself, each detailed with a subtly sexy fishnet imprint. These 'legs' support a structure that evokes a BDSM or restraint-focused apparatus; a wooden vibrator sits centered atop the bench. The sculpture pulses with layered symbolism. While the tennis rackets are personal symbols of Rea's hobby, they could just as easily be interpreted as paddles. At the top sits an exotic parrot, wings spread, seemingly captured in a moment of intense excitement or pure ecstasy. The sculpture operates on multiple levels of intent; Rea notes the piece is “bound together aesthetically and literally structurally,” making it a compelling—and visually potent—focal point within the exhibition. The work is an audacious, unblinking piece that compels a reaction from every viewer.

Mike Rea, Goal, Is É Sin an Saol (detail)

Finally, Goal, Is É Sin an Saol stands out as an elegant, mysterious replica of Ned Kelly's iconic suit of armor, meticulously crafted by Rea from pine, steel, birch, and other materials. The title, Irish Gaelic for "Such is life," creates a poignant link between the artist's own heritage and the fatalistic phrase widely attributed to the Australian bushranger just before his 1880 execution. The sculpture invites interaction: viewers who peek inside the armor will discover words carved into its interior—perhaps Rea's private thoughts, perhaps other Gaelic phrases. This piece follows a historical practice of embedding messages in art, resulting in yet another deeply personal work by Rea that might serve as a meditation on both protection and vulnerability.

The entire body of work pulses with life, demanding reflection and drawing on the artist’s authenticity and his eclectic library of influences. That potent energy lingered with me throughout my Philadelphia visit, right up to the final chaotic hours of my stay. A 1:30 AM fire alarm at the historic Penn View Hotel prompted a frantic evacuation; disoriented guests spilled onto the street in various stages of undress, creating a scene of unexpected commotion that, in its own unique way, mirrored the kinetic intensity of Rea’s dynamic exhibition. Both the show and the incident were intense and undeniably "lit." "Mature Works" successfully highlighted Rea's confident mastery just shy of his 50th birthday, bringing a powerful exhibition to Bertrand Productions and Philly. If you have an opportunity to see any of these pieces in the future, seize it: Just do it!

Mike Rea earned a B.S., Education, Northern Illinois University; an M.A., Sculpture, University of Wisconsin-Madison; and an M.F.A., Sculpture, University of Wisconsin Madison. He lives and works in DeKalb, IL. 

Bertrand Productions

4500 Worth Street

Philadelphia, PA 

“Mature Works,” by Mike Rea ran from September 20 – November 7^th, 2025.