Featured Artist Interview: Michael Bolton, Part 2
by AU(STL) Director, Brad Edwards
In preparation for our upcoming exhibition, the 2010 Winter Quarterly: Positive Obsession, I got the chance to interview local abstract painter, Michael Bolton. Mike will be painting live at the Quarterly, and his unique paintings will be available for purchase at the end of the evening. This is the second and last installment of his interview. You can read the first one here. (Click on thumbnails for larger images)
How has the city of St. Louis contributed to your work?
Actually I have only been a “professional artist” here, so there have been some definite aspects of St. Louis that have shaped my perspective. When I first started out, I depended on some very good local art groups. I found that these groups offered an artist a chance to grow. They were great for me to learn my way around the St. Louis art scene. Basically learning about people and places that were into and/or dealing with art.
So, kind of like Art Underground, huh? Sorry, I couldn’t help myself…
Just like you guys. Networking is what we all need and groups like yours are tremendous help with that cause. I like what you guys have planned. It is young and urban and needed.
What are the biggest challenges you face as an artist? Are there any that are particularly unique to St. Louis?
I have my own challenges. I don’t think it’s an issue of any challenges in the art community that I can’t solve. My challenges are from my side of the brush, for example, putting the time in to branch out more. I am the one that needs to sit down and do research spaces that would work well with my style of art. Putting together a more professional portfolio is another challenge for me. It all comes down to what I want to get out of my work. I am still figuring that out. If you asked me if I thought my work was great, I would enthusiastically answer that yeah, I do! But I also believe that I have a lot to learn and execute before I approach certain art establishments.
I imagine that is a challenge for any artist who is primarily working in a field that is outside their artistic interest. Would you summarize that in the category of general professional development and organization, or is that too broad?
Yeah, that sums it up. My ADHD is also part of the challenge in getting prepared for bigger and better opportunities for exhibition.
What do you hope to accomplish with your work? Is there a message, even if it is simply art for beauty’s sake that you are particularly passionate about?
People that know me and my work know that I do not necessarily have this deep art explanation for my work. It is what it is! I simply want the viewer to get something out of it.
So, general aesthetic value? Nothing wrong with that…
Not at all. Abstract art can become very personal to the viewer in their own way. The meaning can be completely different than what I intend, but overall it is usually one of enjoyment. This part explains the purchase. I just want the person who receives it to have a good response. Take flowers, for example. If something tragic or terrible happens in your life and someone is kind enough to send you flowers, at that brief moment when you open the door and see them you are simply overjoyed at the sight. There is not necessarily a “deeper” meaning than that, and that is enough. It is that feeling I want to capture with my art. Am I there yet? Sometimes I am and sometimes I’m not, but that is what keeps me painting.
Mike, thanks for your time and your creative efforts. Where can we go to view more of your work and keep up with your events?
My website is www.mboltonart.com. Though it needs some updating with my current work, it has all of my information where I can be contacted.
Featured Artist Interview: Michael Bolton, Part 1
by AU(STL) Director, Brad Edwards
In preparation for our upcoming exhibition, the 2010 Winter Quarterly: Positive Obsession, I got the chance to interview local abstract painter, Michael Bolton. Mike will be painting live at the Quarterly, and his unique paintings will be available for purchase at the end of the evening. His style is constantly evolving and his light-hearted outlook on life transcends into his bright and vibrant paintings. He is also a husband, a father, and a full-time teacher, though it is clear that his passion for art informs, and is informed by, his other roles. (Click on thumbnails for larger images)
Mike, how would you describe your work?
Informal geometric abstract paintings with large color fields.
What about your medium and style excites you?
I really enjoy the fact that 90% of my work is not planned before time. I also really love the bright color fields that seemingly take over a room. I want the color to bring a smile to the viewers face when they look at each piece.
Are there any particular life experiences that you see as being formational to how you approach your work (i.e. community, culture, upbringing, faith, etc.)?
Being a fourth grade teacher, my daily life is very detailed and hectic at times, so my work is much more relaxed and free flowing. Also, I did have a chaotic upbringing at times and drawing was always a release for me. I still see it that way. Being raised by a “good ole boy” southern father and a trapped mother often led to a “spanking” for wrong-doings. I do recall two summer long groundings that came after a couple of severe spankings for some poor decisions that I made. I discovered painting to be a creative outlet for that. As far are my current daily life, I tend to paint if I have a challenging day from my students. It just gives me a chance to take a step back, catch my breath and be creative. It’s calming.
What drives or motivates you? What has been a recent source of inspiration?
The enjoyment that I get out of painting is what drives me. When I first started painting seriously about 4 years ago I was only doing it for myself. Before my wife and I moved to St. Louis we lived out West and didn’t have a child, so I had a lot more of both space and time in which to work. One, my wife came down to my make-shift studio and I had about 60-70 paintings leaning against the wall and this prompted her to ask what I had planned on doing with all of the paintings. At the time I really didn’t have a plan, or realize that I had that much work just resting against the wall. This exchange is what prompted me to put together a portfolio.
I love that… would it be fair to say that selling your work was barely even an afterthought? It sounds like the creative process is a pretty “pure” motivation for you. To apply a music term, you haven’t “sold out” in your success.
Selling my work actually came as a surprise. I remember the first piece that I sold. I sold a painting that was broken into four 2×2 ft. pieces for around $350. I was so excited at the time. I never thought that that same size now would go for about four times that much. I just paint what I want and when I have shows I wait for the right customer to come along that really enjoys it as much as I do. It is all about finding the right place and/or client for your work. As far as “sold out” goes I have never been faced yet with a decision that would lead to that. Since I have a full-time job I have never relied on my art moneys to pay my bills. I would probably do things very differently if it were my only source of income.
Depending on the medium, the social or relational facets of art are often overlooked. How have relationships or community shaped your perspective as an artist?
I think the relationships that have most influenced my art would be my clients themselves. I do a lot of commission-based work and I have some clients that have several pieces of mine. I’ve have formed special relationships with each of them. The vast majority of my clients have also become good friends. I’ve lost track of how many commissions I’ve done through referrals from neighbors and co-workers of previous clients. They buy in and begin to network for you. This is a type of relationship that many people unfamiliar with the “art scene” overlook.
I imagine that if you are not a fairly regular patron of the arts, it’s easy to neglect that. People are not just buying a work of art, but tangibly investing in a vision and a relationship. Pretty satisfying, isn’t it?
If you think about someone loving something that you created enough to spend hundreds and sometimes thousands of dollars on it… yeah… that is pretty amazing. Yet it’s also a difficult tension to live in because… and this is just a pet peeve of my own… some overlook the fact that we, as artists, are also businessmen and women. I think some people tend to brush it off as a hobby or something a bit less important.
Part 2 of this interview is soon to follow so stay tuned!
Immediacy Theatre Project
ITP have been long time friends of Art Underground. Their performances are consistently fresh, sometimes outrageous, often significant and always entertaining. Founded in the last few hours of 2004 by by Ian Randall and Kyle Kratky (and “a variety of crazy people who love to rock socks”) they “produce new theatrical works that break the rules of conventional theatre, reassemble them, then break them again.”
Immediacy Theatre Project (ITP) encourages communication on issues of gender, race, class, and politics by exploring new forms of theatre through immediacy. ITP facilitates dialogue by producing new theatrical works that challenge conventional notions surrounding theatre as an art form.
They are unique pioneers, fearlessly engaging artistic assumptions, but they are not provocative for the sake of provocation. There is a creatively subtle agenda behind their craft, encouraging the audience to assume a posture that humanizes rather than demonizes. Plays are unpredictably reverent and self-deprecating, simultaneously affirming and critiquing, conflictingly absurd and masterful. For them, audience participation is key, and they mean it when they say that the “stage” extends from the empty space in front of the seating, past the chair you sit in, over the bar in the back, and spilling out into the surrounding neighborhood… go ahead… dare them.
It is very possible that you will disagree with their conclusions, but gosh darn are they likable! You simply can’t escape the temptation to applaud their reckless pursuit of a common humanity. Here are a few upcoming events that you don’t want to miss!
WRETCHED READINGS
Immediacy Theatre Project (ITP) is pleased as punch to announce a ‘Wretched Readings’ fundraiser November 23 at Duff’s in the Central West End.
‘Wretched Readings’ will feature a slew of prepared readers sharing their terrible poems, prose, plays, film scripts, research papers and more. Managing Director Kyle Kratky will host the fundraiser. In addition to the prepared performers, audience members are invited to sign up for an open mic slot to share their journal entries, haiku or anything else they have personally written.
‘Wretched Readings’ costs $5 at the door, and the bar will be open for business. Proceeds will go toward ITP’s New Year’s Eve twenty-four hour new plays festival ’24/6.’
Doors will open at 6:30. The readings start at 7:00 pm.
Facebook event page for Wretched Readings.
BEST OF DRAWN & QUARTERED
Immediacy Theatre Project (ITP) is absolutely jazzed to present thirty-five plays in this year’s final installment of ‘Drawn & Quartered.’
ITP has been producing episodes of ‘Drawn & Quartered’ for nearly five years. They have produced over 400 two-minute plays. Audiences have heard stories tragic, humorous and bizarre. Sock puppets have been martyred. Politics have been discussed. Ideas have been transferred. Amidst the flashy lights and exciting dance numbers, they have continuously challenged notions about conventional theatre and, above all, sought to create lasting connections with their audience members. ITP Artistic Director Matt Heckman has been hard at work selecting plays from their archives that represent the best cross-section of the work we’ve created over the past several years. The final result is manic, personal and sharp.
You are invited to laugh, ponder and gasp with ITP for a massive ‘Drawn & Quartered’ event – 35 of their best two-minute plays performed in an order chosen by you: the audience.
This is a FREE EVENT at the Schlafly Branch of the St. Louis Public Library (at Lindell and Euclid) on December 2 at 7 pm.
Facebook event page for BEST OF D&Q.