Today we’d like to introduce you to Michael Gault.
Hi Michael, we’d love for you to start by introducing yourself.
I’m Michael Gault, a professional artist that always knew I wanted be an artist. By the time I was seven I told my second-grade teacher and family that I would be an artist when I grew up, and here I am.
Tell us about how you became an artist.
Well, it’s been a 50 year journey and I’m still learning my trade, but it began when I was just a kid. While other boys my age were playing baseball, I was taking drawing lessons. My desire to create and my appreciation of art grew through my childhood and teenage years. But by the time I graduated from high school, Vietnam was happening and my date of birth put me in the first lottery round of young men that were drafted. Instead of pursuing my dream of becoming an artist, I found myself enlisting in the navy and serving as a radio-man with responsibilities in communications with a top secret clearance. During that time, I apparently tested well and the navy approached me to attend the naval academy for officer training, that presented amazing career opportunities. But I knew that wasn’t what I wanted, and I refused. I served my stint in the Navy and I returned to home to start my journey to became an artist.
In 1972, I was accepted by juried process into the renowned Kansas City Art Institute. I began my studies in the Foundations Department, experiencing and experimenting with all phases and types of art. I was never a great student as a child, it was only when attending KCAI that I realized my potential. I loved every minute of that academic period of my life. I absorbed the history of art like a sponge. I spent 40 hours a week, drawing and painting, and drawing and painting. Like my classmates, I became proficient at drawing and painting. I experienced a bit of every art form there, was introduced to everything from design to sculpture to printmaking to photography to painting and drawing, and everything in between.
It wasn’t however until I was almost 23 and preparing for my second year of studies at KCAI that I would walk into the painting studio and choose that art as my life’s pursuit. I studied under the direction of Wilbur Niewald, head of the painting department, and a childhood prodigy and student of Thomas Hart Benton who had also gotten his degrees from the Kansas City Art Institute. I began living the dream as I was emerged in serious art courses and doing art full-time. I slowly mastered drawing abilities and developed my color and painting techniques and spent the next three years painting figures and still-lifes in the studio and eventually began plein air painting. In my senior year at KCAI, my painting classes included studying under Stan Lewis who encouraged me to go big and paint larger, going so far as to provide this poor college student with a 48 x 72 canvas for a senior project. By graduation I had exhibited in numerous shows in the Kansas City area, and had that large painting from my studio class, “Reflections Within a Studio’s Interior Depicting Light and Space on a Flat Surface” accepted by the Junior League of Kansas City, Missouri for inclusion in the prestigious “30 Miles of Art” annual art show at the Nelson-Atkins Museum.
After obtaining my Bachelors of Fine Art degree in Studio from KCAI, I continued to pursue my studio career and began teaching regional classes and workshops. In 1978 I was accepted, by the University of Missouri at Kansas City, to continue my fine art education, studying under Eric Bransby, a well-known Colorado muralist, who like Professor Niewald of the Art Institute, had also studied under Thomas Hart Benton at the Kansas City Art Institute earlier in his life, and had then studied under renowned artists, Boardman Robinson and Jean Charlot. My thesis, was in both written and in two dimensional submissions, and was titled, “The Missouri Landscape Skies and Highways”. My thesis was accepted and approved and I received my Master of Arts Degree in 1980.
Soon after, I began teaching studio art and art history at Graceland College in Lamoni, IA. After that I started a graphics art business, which allowed me to be an artist and support my family. I continued to experiment with various mediums and types of fine art, and to paint and exhibit work in the limited market the mid-west offered. During this period, I was chosen by the Missouri State Historical Society as a National Resource to bring attention to artists in the region. My paintings were featured in the state capitol rotunda and in state periodicals along with artist, Thomas Hart Benton and writer, Mark Twain. It was an amazing opportunity for me and for other contemporary artists as well.
While these opportunities were happening, the graphics business continued to grow. Because of that graphics business I became an expert in computer graphics, which was a new genre’ to the art community at that time, and I got an opportunity to teach design and computer classes at Missouri Western State College in St. Joseph Missouri. All of those successes were great, but the studio remained my primary interest and I began to think about returning to the studio on a full-time basis.
A vacation to Colorado ignited the desire I had as a child to live in the Rocky Mountains, and within the year my wife and I had purchased land in the Pikes Peak area and were planning to relocate. In 1995, the graphics business was sold, and we began the transition to move from the Midwest to Colorado. I designed & we built our custom home which included a studio, gallery, office, and framing/storage area, and I immediately went back to working full-time in the studio.
Within a short time, I was involved with local art groups and began teaching workshops. I reconnected with my UMKC professor, Eric Bransby who had retired back to Colorado, and was inspired to create my first (and only) mural, a western scene as a commission for a local resident. During this time, I also contracted with the Visual and Performing Arts (VAPA) department at the University of Colorado in Colorado Springs and began teaching art classes part-time. My tenure with UCCS continued for several years, allowing me to encourage and mentor students and other individuals as they pursued their artistic dreams. During this time, I was also painting full-time and pursuing representation in galleries throughout the region.
By the late 1990s, my work was featured in Colorado galleries in Vail, Denver, Colorado Springs, Aspen, Estes Park, Greeley and Steamboat Springs and I also had galleries in Santa Fe and Taos, NM, and in Scottsdale, AZ as well as in the mid-west and in Paris, France. These galleries allowed me to gain collectors throughout the United States as well in France, Germany, Korea, Japan and the Netherlands. During this time, I was also traveling and participating in various art competitions and plein-air events and achieving recognition with event awards for Best of Show, Mayor’s Choice, and Collector’s Choice Awards.
In 2007, I was commissioned by Slifer Designs of Edwards, CO to supply over 100 original oil paintings for The Arrabelle at Vail Square, a new resort that was designed and being built in the area. The hotel’s interior design featured three of my Colorado landscape paintings in each suite, as well as larger original works in the hotel’s common areas. It was a once-in-a-lifetime opportunity, as traditionally prints are used for these facilities and not original oil paintings. Life as a professional artist was pretty good.
The financial art market began experiencing major issues in 2008, but I wasn’t much affected until a few years later. In 2012 I lost both of my parents to different issues within a week of each other and I was devastated. Then a couple of my main galleries literally disappeared over night with a sizeable amount of my painting inventory. It was a lot to deal with and while I had always experienced anxiety issues (I’m kind of an introvert at heart), the losses literally overwhelmed me. And then covid came through and pretty much wiped-out gallery representation as I knew it. I still painted, but I had no representation or desire to find representation.
By late 2020 my wife retired from her business management career and stepped in to handle the business side of the studio and I sought therapy for my anxiety and agoraphobia. Suddenly my work was being exhibited with organizations and galleries offering online and virtual art show opportunities. Coverage was added to include the areas of Florida, Arizona, California, and Pennsylvania. And I was motivated to get back out there and rejoin the art community.
2023 was a banner year for me and my artwork. The art was entered into several international competitions and recognized with twenty-seven awards for various paintings from various exhibitions, which included being selected as the winner of the Water Category in PleinAir Magazines, 13th Annual PleinAir Salon Art Competition, a win in the Top Art Award’s Art Master’s Year End Exhibition and a World Art Award from American Art Awards/World Art Awards. I began teaching classes and workshops again and showing in local galleries.
2024 is looking positive with several competition awards already announced for my landscapes and also for my non-representational paintings. I am looking forward to an international Solo Exhibition scheduled for March of 2024 which was awarded by Light Space & Time Gallery of Santa Fe, NM for my landscapes. I’m excited again about art in general, and the new gallery and competition opportunities. An art life is kind of a two-part adventure, part 1 is the artist making art, but the process isn’t complete until part 2 happens – which is when someone views the art. With exhibition venues available again, I feel like all is right with my artistic life.
Can you talk to us about the challenges and lessons you’ve learned along the way? Looking back, would you say it’s been easy or smooth in retrospect?
The only thing I ever wanted to do was art, but it’s difficult to be a self-employed artist making fine art. They say the art-buying public is only composed of about 5% of the population. So having representation in the right place to connect with the buying population is a challenge. It also takes years to build a portfolio and to develop a viable professional reputation. Some people buy a piece of art because they come across a painting or sculpture that they just love, however more buyers are looking for an investment so they want an established artist. It’s difficult to market yourself and it’s tough to market a piece of your art because you put your heart and soul into each and every piece. Unfortunately, an art career is paved with potential rejection from every direction. Successful artists get pushed to the back of the line with new fads or decor trends. It’s not uncommon for a painter to reach a point where they sell pieces for $10,000 or sell things as fast as they can create them and then suddenly, they aren’t selling anything. I have found that I have to focus on the process of making art. If things are selling great – when they aren’t I focus on the process. I get accepted into shows – great, and when I get rejected and it happens, I just try to focus on the process and move on.
Rejection is a part of any artist’s life and there have been many times, when I was rejected. I know how an education system can take creativity out of children. I experienced it first-hand. In high school I took every art class I could get until my senior year and my high school art teacher refused to let me sign up for an advanced studio class, saying I didn’t have any talent. Art was the only thing I was good at. I was a mediocre student in most everything else. I was devastated. The teacher reversed that decision when my mother visited the school with her dissatisfaction with the decision because my grades had always been great for art – for math not so much. I was allowed in the class, only to find that the teacher’s idea of teaching art was to give the class an assignment and then to go to his studio to work on his artwork instead of inspiring or encouraging the students.
Many years later while substituting at my old high school while getting my master’s degree, I ran into that old art instructor. I introduced myself, and that the teacher didn’t remember me. I related the story of being denied entrance into that class of yester-year and informed him that I had my BFA from KCAI and that I was finishing up my MA in studio art from UMKC. I also informed him of my gallery representation and the art awards that my art had received. Then I pointed out that no teacher should ever tell a child they weren’t talented enough, as talent is only an aptitude driven by desire that no teacher can possibly know what any child can achieve with true mentorship.
I encountered rejection again when I applied to the Kansas City Art Institute. Admission to that institution is juried by a panel of professors or acceptance, based on the student’s portfolio. One instructor in particular wasn’t impressed with mine and stated his dissatisfaction. Luckily everyone else (including my future painting and drawing advisors) disagreed with the negative comments and saw potential, and I was admitted. That admittance was life-changing, and I did become the artist I imagined so many years ago!
Artists always face challenges in making a living wage. And unfortunately, art sales ebb and flow with the economy and that effects all artists. When times are good, sales can be great, but when times are tough, an artist is forced to find other opportunities to be creative or to support themselves. A lot of good artists leave the art field for greener pastures and less stress. But all I ever wanted was to be an artist – I wasn’t good at anything else, and I genuinely believe that I had no other real options. Studio sales in Missouri did not make an income, and even with the great show and exhibition opportunities I received, the mid-west was not a hot spot for artwork. The first time I was faced with this, I decided to go back to college and get my master’s degree. I loved teaching and scholastic art departments, but I did it to be able to teach art at the college level and have a steady income. After graduating, I started looking for a job, but with no experience, I ended up getting a part-time position covering for a professor who was taking a sabbatical with a private college to gain that needed experience. When I finished that contract, higher-education teaching opportunities were drying up because enrollments were down. And I found myself unemployed…again.
By this time, I was married and had two small children to support. I wasn’t qualified to do or be anything but an artist or a college art teacher, so I started a graphics business. The economy was good for small businesses at that time. The business grew and I thrived because I was creative. I found a revenue source that allowed me to be an artist and to create artsy things on top of the advertising specialties that made money. It was a win for me, I had a job as an artist but my time as an artist/painter was extremely limited because the job and the business took a lot of my time.
Eventually, the economy recovered and offered other creative opportunities and I was able to sell the business at a profit and change direction back to teaching. Computer graphics was a new thing, and because of my time owning and operating a graphics company, and my investment in a computer with design capabilities, I was in a unique position to teach computer graphics. So again, I was able to teach art and enabling creativity in young adults pursuing their artistic path. At the same time, I was able to enter the corporate world and use my computer graphic ability to make a really good living.
But even with those creative endeavors the studio called, and with a move from the mid-west to Colorado I was enabled to pursue my passion again, as an oil painter. When I picked up the paintbrush again, I found that I hadn’t lost any of my creativity skills at the easel, because I had stayed creative throughout my journey. Within a year, I had built up inventory and begun to find galleries that were willing to represent me and my work. The economy was strong, and my creative momentum grew. One gallery led to another and another, and sales grew as well. It was an exciting time, and I loved being an artist. During this time, I got an opportunity to teach a couple of art courses, part-time at UCCS. I loved teaching, sharing my passion for all things art, which I did along with working full-time in my studio and servicing galleries. Life was really good!
As life does, things began to change and I was faced with more challenges. I developed hearing issues and found that I had lost about 30% of my ability to hear, which had a profound effect on my ability to interact with students and classes at the university. So, sadly I retired from teaching. To make things even worse, I lost both of my parents seven days apart, and the grief overwhelmed me. Anxiety took over and agoraphobia kicked in and suddenly I was unable to deal with traveling or even leaving the house or dealing with people. At this point, my hearing ability decreased even more, leaving me with only had about 35%-40% hearing. Conversations and phone calls became all but impossible. On top of that, Covid came along and closed most of my galleries. I still painted, but with nowhere to take the artwork the anxiety and stress got even worse.
Then my wife retired from the corporate world and took over the business side of the gallery. She started promoting the work and handling the marketing and started reaching out to online galleries and events and found interest. The paintings were entered into competitions and juried shows and were recognized with awards. This motivated me, so I’m really painting again and continuing to grow as an artist. I started teaching adult classes and workshops again. The adult students understand the hearing disability and we are able to work around communication in ways that younger people couldn’t. My wife and I are working together to connect with new galleries to represent the work, one location at a time, and life has leveled out again.
I want other artists to understand my main reason in revealing these hardship stories is that the profession of art is hard, even in good times. But the encouragement lies in the path ys what you hope for or want, but it is a journey. As the great Georgia O’Keefe said when she was asked what it is like to get there, “I always wanted to get there, but when I got there, I realized there is no there, there”. I agree with Georgia, as artists we just keep journeying from there to there…remember there isn’t a destination, just part of the journey.
Thanks for sharing that. So, maybe next you can tell us a bit more about your work?
I believe that being an artist and making art is actually a career in communication. With every new painting I start, I begin by asking myself, what do I want this piece to say or what emotion do I want to convey? Sometimes I just ask myself, how can I make the paint interesting? Then I focus on the type of painting I want to do – is it going to be a landscape and if so, I select a place that I’ve been to or a picture I’ve taken if I’m going to paint in the studio or I go to a place that I want to plein-air and I stand in front of that blank canvas in nature and just start mixing colors and applying the paint. If I’m in the mood to do a non-representational piece, I focus on the type of energy or emotion and light I want to depict and again I start mixing colors and applying paint. I focus on the process whether I’m working from life or conceptionally and I challenge myself to turn my concept into fine art. Maybe 30 percent of the time when I finish, I know I’ve succeeded and maybe 10 percent of the time I actually amaze myself and know that I’ve bypassed previous levels of proficiencies. Another 20 percent of the time I feel like the work is adequate and probably 40 percent of the time the work doesn’t meet my expectations and will be destroyed or painted over…thus is the life of an artist.
Art is not just my work; art is my life. It’s about the process, always the process. The product is what is left over when the process of a piece is completed. I’m always studying, the work of others, the work of the masters, and the supplies and equipment used in my process, and I’m always evaluating my work. My expectations for success are high, but I’m self-critical – I know when the work is lacking. Sometimes the vision just isn’t what you expected, and that piece gets painted over or scrapped… and I move on to the next. The next process, the next creative thing.
What’s your typical work day like as an artist?
Most days I start my day in my office, checking email, or the website and social media accounts, and just doing the business of art. Then I go to the studio. I turn on the lights and the stereo in the background, and I’m ready to go to work. If I have a painting on the easel that is currently the object of my attention, I’ll sit in my chair and review the work to date. In my mind, I’ll note specific areas that need my attention and plan out where I’ll start and what I see in my mind as to where I’ll end for the day.
Then I’ll get up and go to the easel and get to work. If I get the painting to a point where I need to let it dry before continuing to maintain quality, then I’ll set it aside and pull out another work that’s in progress and work on it. Usually, I have several paintings in various stages so I can work efficiently and make the most of being in that creative zone or mindset. Somedays I critique paintings that I thought were finished or just stopped working on, and they go back in the studio for a re-work or to be painted over. As I’ve said before, probably 40% of my work will be reclaimed and eliminated from the inventory deemed gallery quality. An artist has to learn to self-evaluate, not every artistic attempt is successful. This doesn’t mean that they are failures, just that it’s OK to critique the product and find it doesn’t meet the artist’s expectations.
Some days I teach classes or workshops, and I find these days allow me to utilize my “artist eye” to assist younger or less experienced artists in developing their skills and creative abilities. Because early in my artistic journey I was deemed inadequate, and I don’t believe anyone’s creativity should be stymied, I teach from an empowering and encouraging place. I take into consideration the place each student is in, in their creative journey and assist and advise to help them master the roadblocks they’re encountering. Sometimes it’s that their color mix is wrong, or their proportions are off, and as a mentor, it is my job to teach them to “see” the issue and then address it. I enjoy coaching them to figure out what they want to communicate and then tutoring them in the language of painting.
I also enjoy talking to clients and potential buyers about art. I love to see their faces when I explaining that art is a two-part process, that the creation of the art is part one, and part two is the viewing. I share with viewers how they are allowed to interpret the pictures, and encourage the individual to look closely to find what’s being communicated to them personally. No two people typically see a painting in the same way. This is why collectors collect and why I paint. Paint is simply a visual communication method, and when I’m working on a painting, I’m supplying information that others will view and interpret. It’s an empowering concept and one that most non-artists have not been introduced to. I also find that sharing the stories and the concept behind a piece creates a dialogue and permits the viewer to open themselves even more fully to the second part of that creative process, receiving it.
Sometimes I realize when I finish painting or teaching for the day that it was only during that time, during the time I was in the process of making art and sharing art, that I am living some of my best moments.
What are the rewards of being an artist?
The blessings of living a creative life, is extremely fulfilling. The satisfaction you get when you get paid because someone liked that creation that was all you, your vision and your effort. The sense of inclusion when you’ve been part of a professional artistic association or community. Knowing that as long as you’re breathing or want to be an artist, that you can because there’s no one to force retirement on you. An artist can live a productive life as long as they are relevant. I intend to take advantage of that facet of the career and I look forward to painting and making art and sharing art for the rest of my life.
What do you like best about our city? What do you like least?
I love the beauty of this place. I like the closeness of the mountains and forests and the streams and valleys and the peace they bring to everyday life. I was drawn to the mountains as a kid when we came to Colorado on vacation and always said I would live here… and here I am. I’m so grateful to be living here. And while I was born a low-lander, my grandkids are native Coloradans! I love that, because nature is a way of life for us here in Colorado.
I’m not much on needing to be in the center of the city and dealing with the traffic. But it is wonderful to have all of the creative venues and things to do for every interest a person can have from art to nature to music and even for all kinds of sports – we’ve got it all!
Contact Info:
- Website: https://artisticendeavorsfineart.com
- Instagram: https://www.instagram.com/michaelgaultstudio/
- Facebook: https://www.facebook.com/mgartistpainter
- Linkedin: https://www.linkedin.com/in/michael-gault-29144166/
- Youtube: https://www.youtube.com/@michaelgaultstudio2074
