BY SHALEEN DESTEFANO
In a world increasingly dominated by fleeting digital impressions, Michael Dowling stands as a testament to the enduring power of classical artistry. Rooted in the techniques honed during his studies in Italy, his work bridges the grandeur of historical aesthetics with the provocative immediacy of hypermodern subject matter. By drawing upon the visual strength of classical traditions, Michael reimagines their impact for contemporary audiences, creating pieces that resonate with timeless elegance while addressing the complexities of the modern world. His art invites viewers to reflect on how the past informs the present, and how the enduring beauty of classical forms can challenge and enrich today’s visual culture. Michael has been a fixture in the Denver Art Scene for a very long time, we are honored that he shares his story here.
Can you share a bit about your artistic journey? What initially drew you to creating art?
I started drawing very young, obsessively and repetitively, often using comics as reference, and also Italian Renaissance works. My Mom had studied art and had a book of Classical Art Drawings that I started copying when I was about nine, and art became how I communicated with the world, but I didn’t realize it could become my life’s work. I went to an all-boys high school thanks to a work study program and a scholarship but it didn’t have an art program, and although I kept drawing every day, I felt the push to go into a career that was more mainstream and ended up majoring in engineering in college. Turns out, I wasn’t an engineer. But, it took me until I was 25 to take my first painting class. Within 10 minutes of that class, I knew I wanted to be a painter. I studied with that formative professor for two years, and in that time I started a corporate art sales company so that I could make a living in the arts. It didn’t take me long to realize that what I really wanted was to make the art myself. So, I dropped everything, sold my company, and moved to Italy. I was accepted into the Lorenzo de Medici School in Florence to study contemporary theory and Renaissance painting under some of the world’s most renowned teachers. I spent my years there experiencing the Italian masters in out-of-the-way cathedrals and little known museums and living the Italian way. My time in Italy shaped my artistic style, and after several years there, I was ready to come back to Colorado. I realized my heart is here, and even in the wonder of Italy, I missed the majesty of Colorado. I’ve been working as a professional artist in Colorado since.
You have a very distinct style that we love. It is almost a modern nod to a more old-world, classic style. How did you arrive at this expression?
I’d always been interested in the art of the Renaissance, and taught myself to draw by copying those artists. I wanted to work in those approaches, but with a contemporary voice and imagery that relates to the time we are in now. I found through working with classical ideas and approaches with a modern day lens I developed a very distinctive mark and style.
How do you approach a new project or piece? Do you start with a particular medium or concept in mind, or do your ideas develop organically as you work?
Both. Sometimes I have a very particular idea in mind of what I want to make that day, and other times I just go to the studio and let myself follow whatever comes to mind.
Denver has a vibrant arts scene. How has the local culture and environment influenced your work? Have you had an opportunity to collaborate with other artists in the past?
It’s always been very important to me to be a part of the Denver Art community, and I’ve been highly involved for the span of my career. The list of art projects and programs in Denver that I’ve been a part of is long, but some of the many highlights include founding and curating True West; a Colorado show featuring artists with different perspectives on what it means to be “West,” founding and co-directing BRDG Project; an artist incubator designed to provide showing opportunities for artists from all walks of life; curating for and serving as the featured artist for the alternative ballet company, Wonderbound, YardArt; an outdoor art fair held annually in Cherry Creek, and teaching for Art Students League, Denver Art Museum and many other Colorado organizations and museums. I’m also a board member for several galleries, and mentor other artists regularly.
You work in a variety of mediums. How do you decide which medium to use for a particular idea, and do you see them as complementary or distinct in your creative process?
Sometimes, the piece I’m working on tells me what medium it should be; I can see if it’s destined to be a sculpture or a drawing or a painting or something totally unique. Other times, the work comes from the simple need to draw or to paint, in those times I have to search for an idea or image to explore. Very recently though, I have been drawn to create multiple studies of new ideas in more than one medium, and the process of bringing an idea to life in many different ways changes and shapes the idea itself.
What has been one of the most challenging aspects of your artistic career, and how did you overcome it? How do you stay motivated and continue to grow as an artist?
It’s hard to make a living as an artist. I’m incredibly fortunate that I’ve attracted collectors and galleries who are loyal to my work and have continued to support me. And, it’s an ongoing process. Artists are entrepreneurs. In addition to creating work that inspires, I am a business owner in charge of every facet of the business itself. I stay motivated and continue to grow as an artist because I’m endlessly curious. And for me to understand what’s happening in the world, I have to continue my studied observation of the things around me. I can’t turn the artist off, that’s just who I am.
What upcoming projects or themes are you excited about exploring? Are there any new mediums or techniques you’re planning to experiment with in the near future?
My work recently is exploring being who I am in the world. There’s a lot of volatility in America right now, and I’m concerned about being a dad, being a man, finding ways to be good in the world, and good for the world, and I want that reflected in my work now. My next projects are with Wonderbound for the contemporary ballet, Agent Romeo; a solo show at Auric Gallery in Colorado Springs; and a current project creating Renaissance images of unrecognized heroes.
Can you give us a glimpse into your studio? Is there music playing? Do you work better at night or during the day?
My studio is wherever I go. I had the incredible opportunity to work in residency this year in the South of France, and the studio space I was given there was in a turret attached to a 700 year old castle in La Napoule. That was a wildly inspiring space, but I’m also inspired in nature, in reading, in movies, in my studio, and just being an observer of the world around me.
What advice would you offer a budding artist just getting started?
There’s a lot of worthwhile advice out there already, there are so many artists out there who would love to take time to connect with those just starting. Some sage advice includes; find your own voice (easier said than done, we often don’t recognize our own voices in the crowd, your peers will tell you when you hit this), become an absolute expert in your approach (practice makes mastery), luck and showing up are real. But truly the one piece of advice I would give is, whatever you do, do it beautifully.
Through a distinct visual language that captivates and inspires, Michael Dowling continues to push boundaries and make a grand impact on Denver’s cultural landscape. If you’re looking to experience art that makes you think, please check out Michael’s vast collection at MJDowlingStudio.com or on Instagram at @michaeldowlingstudio.