Michael Workman – Familiar Ground
Santa Fe--Noted
for images that trigger strong emotion and
mysterious mood, painter Michael Workman maintains
his momentum in crafting each piece into an art
object that beckons to be admired. A native of Utah,
Workman is readdressing some of his favorite
imagery, the rural landscape surrounding his home.
Using a limited palette, Workman's new work focuses
more on color, especially earth tones derived from
the late evenings of central Utah. The Meyer East
Gallery is excited to offer his One-Person Show,
Michael Workman – Familiar Ground, which opened
June 26, 2009.
Click Here to View Additional Images from Show
"I look for things that are beautiful without being
overly syrupy or sweet. I'm trying to do things that
are not just copies of nature. I'm trying to say
things, create an emotional response," Workman says.
"It's a challenge because I don't want to be cliché.
I don’t want to paint calendar art."
Michael Workman never set out to become a tonalist,
but that's a frequent term used to describe his
paintings. While the Utah artist admits his work
reflects the new tonalist movement, he calls himself
a contemporary traditionalist. "I've never wanted to
be pigeonholed," he says. His desire to
differentiate himself can be seen throughout his
work.
While pieces in his new body of
work vary in size, and include oils on panel as well
as mixed media, most of the work will be smaller
squares measuring 12 by 12 inches. Workman rarely
uses standard size panels, instead preferring to
create his own that evoke a more contemporary
presence. "I'm trying not to be typical," says
Workman.
Workman's new work focuses more
on color, especially earth tones of animals and
farming communities. "I put some color on and see
where it goes," Workman explains. "You get this
dialog going with the painting." In his quest to
convey a certain feeling and mood, Workman creates
each rendition with a hint of abstraction. His
choice of color, texture and light are soft and
harmonious, creating a dreamy effect.
"I’m not just after a
superficial image. I try to do it better each time,"
he says. "I hope it's better than ever." Workman
paints what he loves, such as the rural landscape
surrounding his home, a Mormon pioneer town.
To complement his studio painting,
Workman also paints plein air, sketching his muse.
In the coming year he will incorporate a new
direction by painting portraitures. "I'm enjoying
painting faces and heads, and I love the landscape.
I hope people look at my work and it stands out in a
crowd," he says. "I hope it's a personal thing that
can’t be put into words." A former architectural
illustrator, Workman says that career taught him to
paint everyday, which he continues to do.
This early career left marks in other ways. “I
worked on a hard surface. You get used to it,” he
explains. Workman still paints on plywood panels. “I
don’t do a lot of preliminary work. It’s easy to
scrape back. This method works best for my
spontaneous approach.” This technique also adds
depth and richness to the overall effect.
"I learned a lot of technical ability and skills,
but it's negative to get caught up thinking about
technique," he says."Good art is more than technique
and skill." Rather than spending a lot of time on
preparatory work, Workman uses an addition and
subtraction approach. This technique adds depth and
richness to the overall effect.
The artist is committed to pursuing
what he describes as a never-ending journey,
estimated time of arrival unknown. “To become an
artist is a long hard climb up a steep mountain. You
can only stop and rest for awhile,” Workman says,
his tone introspective. “Art is a personal thing.
It should be unique. I once had an art professor who
said: ‘What art is really about is chasing the
illusive phantom.’” A commitment such as this
requires a strong sense of self, as well as courage,
qualities Workman obviously possesses.
The artist’s natural talent was evident
at an early age. “As a kindergartner, I remember
bringing art work home with the adults commenting:
‘He’s very talented,’” Workman recalls. “I didn’t
know that I would make a living at art until I was
in my twenties. This is the thing I’ve been best
at.” He studied painting and drawing at Brigham
Young University, where he received his B.F.A. and
M.F.A.
While still in school, Workman gave a
lot of thought to what art meant to him personally.
“I remember as a graduate student that there was an
emphasis on contemporary art. A lot of contemporary
art focuses on the negative. I decided early on that
it doesn’t take a lot of courage to emphasize the
negative,” he says. “I struggle with being positive;
it doesn’t come naturally to me.”
Workman also realized that in order to
distinguish his landscapes he would have to go
beneath the visible surface and mine the rich
emotional layers that lay below. The works of
tonalist George Inness, who believed art should
trigger emotions, inspired him. “Inness was very
much a tonalist and a spiritual guy,” Workman says.
“His greatest work became very spiritually
oriented.” Workman cannot recall if he consciously
set out to be a tonalist, but it seemed like a
natural fit. “I once read that every painting is a
self portrait,” he says.
As his career progressed, Workman found
that his focus changed. “You go through a stage
where you think it’s all about technique, now I’m
more concerned about personal expression,” he says.
“But it’s a tightrope. Technique and expression need
to go together.”
Workman has entered another phase
critical to his commitment to fully develop as an
artist. In other words, he has embarked on the next
step of his journey. “You can be a very mediocre
painter and make a good living at it. The art market
allows that,” he says. “I look at my work and wonder
if I measure up to the great artists that I respect.
So I keep pushing myself to be better. I had a
professor who once said: ‘To imitate is bad, even if
you’re imitating yourself.’”
The changes Workman envisions are not
radical. “I’m not just looking for something new.
That leads to shock art, and that’s a dead-end
street,” he explains. “I’m digging deep for
something more personal that’s unique.”
To aid in his personal quest, Workman
is studying artists who inspire him, including Van
Gogh. “My work does not resemble his, but his lust
for life has had a profound experience on me,”
Workman says. “Another modern painter who has
influenced me is Mark Rothko.” Workman is trying to
get a stronger abstract color field quality into his
work, yet remain true to his landscapes.
“Any creative pursuit involves doing it
as if the money is not important,” he says. “You
must strive for excellence. Go deeper than you’ve
ever gone before. That’s what art is all about,
having those kinds of experiences,” concluded
Workman.
Michael Workman’s art can be seen at Meyer East
Gallery, 225 Canyon Road, Santa Fe (505) 983-1657. Fax: (505)
988-9867 www.meyereastgallery. Hours: Monday -
Saturday 10 - 5, Sunday 11 - 4.
Through 7-10-09
