Michael Koehler: mechanically organic
A significant artist statement is not a foundation to appreciate an artists work. Leaving out pretence often draws us closer to the pieces. Michael Koehler’s work introduces itself as: Human vs Technology vs Nature. It's relatable and open ended, and Michael’s work delivers on these words.
I often ask artists what their background in the arts consists of. The end result always speaks for itself regardless of where they studied or with whom. This is something worth remembering as a growing and emerging artist. The push to better yourself. To take any roads - within obvious reason - that lead you to the success of the work you want to achieve.
The aptitude of your creativity starts in early childhood. Whether the pursuit lasts or not - the "talent" often remains. Most of us remember the pull of wanting to draw. The raw inspiration from watching a cartoon or building legos. Visual and auditory interests pushing you to paper. There is a deep nostalgia for that moment and it follows you through life.
"There’s an event that sparked the need to create art. When I was about 7 years old I won a complete set of 1990 Marvel superhero cards in a raffle at a Cub Scout meeting. I was blown away by the art. All the different heroes and villains, and their relationships with one another. I quit Cub Scouts the following day. My obsession with these characters grew. I spent hours drawing their elaborate costumes and exaggerated poses... while acting like I was the Silver Surfer or Sabertooth with my cousin.
Eventually I started making up my own characters. Meticulously drawing out all their abilities and demeanors. I would dream up stories and draw them out on loose scraps of paper. I loved to create worlds and characters with elaborate backstories and dynamics. I knew from a young age that I wanted to be an artist but I didn’t know how that would or could pan out."
Koehler started as a graphic designer in College. Photoshop and Illustrator are the staples. Michael took elective classes on the fundamentals: drawing, perspective, illustration and concept development. He merged into painting after graduating. In his words, "by trial and error." Not having the structure of class or workshops, "I'd try any medium on any surface I could find. Mainly random scraps of wood."
Michael landed on acrylic paint as a favourite medium and keeps the process of trial and error going. He uses tutorials and time-lapse videos to help him solve problems and add to his technique. "I feel like I learn something new with each piece I create. I’m always fine-tuning and studying new methods of painting."
It’s clear that a solid design foundation was an asset to Koehler’s body of work. Methodically organic visual outlines - and strong competence for colour theory - structure other-worldly faces. Below, mechanical bones hold preternatural organs or objects.
I’m always drawn to graphic design elements within traditional paintings. Works that aim to be compatible with many mediums and settings - canvas, murals, sculptures.
Koehler once created a life-size sculpture installation of a robot-headed human body with a tree growing out of it.
“The head was made out of an old rectangular industrial street lamp. The face was assembled out of junk and metal trash I found. The body was a life cast of my own that I created using plastic wrap and duct tape. I had someone cut me out of it and then I stuffed it with cloth and paper and dressed it in ratty clothes.
I found a small dead tree on the side of a highway by my house and affixed it to the head of the robot. I went a little crazy with the hands. I bound together hundreds of little twigs in the shape of two hands and attached them to the arms. After the show was over, the gallery and I moved the robot to the overgrown courtyard next door for its final resting place. The clothes rotted after a year or so. I have no idea if its head is still there or if it’s deteriorated or has been destroyed. I like the idea of it all going back into the ground.”
His current paintings would do well to translate in the form of sculpture or mural work.
"I’d really like to get into doing murals. I want to see how my work translates on a large scale. Dream Project: I’d like to create an immersive installation piece. Something that people can interact with. I’ve always pictured some kind of labyrinth - using elements and characters from my paintings. I like the idea of a virtual experience. I’ve seen some very cool art installations made in VR spaces. But I’d prefer to create something in the real world - where the work could disrupt an ordinary space. Where anyone could take part in the experience."
Most creatives have a certain workflow that rarely strays day to day. Often it includes e-mails, web orders, contracts - the uninspired parts. The rest of the day, as is Michael's case, devotes itself to painting and drawing - often late into the night. There needs to be a divide between work and home, and many artists don't work out of a separate studio. While the familiarity of working from home was a gift during lockdown for most - we still need balance.
"I enjoy reading and watching movies when I can. I love to go hiking and generally experiencing nature... maybe it’s cliche but getting back to nature is what does it for me. It calms my mind and inspires me. I also try to make music. I play the drums and want to get into synthesizers but it’s a pricey hobby plus I’m very bad at it. Ha! That’s what I like about it though, I don’t have to be great, I just want to have fun."
Living in a more confined setting also confines the mind. Moving - long distance or daily hike - often provides perspective outside the comfortable bubble we make for ourselves. I asked Michael where he grew up and how it affected his work,
“I’m from Pittsburgh, Pennsylvania. Early on my work was influenced by the run-down decay of the city. I implemented things like rough textures on discarded wood panels…Since leaving my hometown I’m more influenced by nature and the calamities of the world at large.”
Koehler now lives in the Pacific Northwest with his fiancé Masha - an artist as well. He lovingly credits her for pushing him out of creative blocks - with her inspiring tenacity to create - and as a colleague for constructive criticism.
Since leaving Pittsburgh, Koehler's work shifted and moved with him. The subject matter and characters, while still robotic and exposed, changed their expressions. There looks to be less devastation and more unity. A willingness for the mechanical and the organic to collaborate in the scene. Less destruction in the background.
It points to the potential of humanity - despite the trajectory we find ourselves in.
ADVICE FOR YOUNGER SELF
Do your best work and don’t be afraid to show it.
Spend as much time learning the fundamentals as you can and then you can break the rules.
As you’re learning your craft, it’s ok to jump around with different materials, styles, and subject matter but eventually try and create a small body of work as you go that can be seen as cohesive.
Be patient.
You can find Michael Koehler's work at:
- Arch Enemy Arts’ “SPECTRUM” show opening September 17th.
- Collapse Gallery in Wenatchee, WA.
- A. Hurd Gallery in Albuquerque for a group show in December.
- Virtual gallery WOWxWOW in January.
Instagram: @michaelkoehlerart
Website: https://michaelkoehlerart.com
Author: Daria Pekh