Michael EadeNew York, New York, United States
Painting is an emotional experience for me. I am constantly challenged and excited to create something that is my own and uniquely different. My landscapes are intended to invite viewers to embark on visual tours of an unknown yet familiar looking world becoming a part of their cultural and emotional consciousness.
I have been working as an artist and painter since 1990 and currently work by myself in my own Manhattan studio, sometimes employing studio assistants.
In our time together via PivotPlanet, I will share with you the how to research and secure financial and professional support for your work – i.e. fellowships, workshops, etc.; how to create your own artist statement; how to facilitate a show – i.e. theme, press releases, gallery location, marketing materials, pricing and price points, etc. I will discuss the importance of building a good portfolio and constantly getting your work out in front of people – those who already know your work and those whom you want to know your work. You have to build relationships with people who can get the word out about you – artists, gallery owners and curators. Growing your circle of influence is critical.
Painting exclusively with egg tempera on wood panels and incorporating metal leaf, I create lush fanciful landscapes with flora and fauna. As a landscape painter uniting both Eastern and Western landscape traditions, I am inspired to create works depicting actual and metaphorical locations on our planet. My style breaks the rules and perception of landscape painting. The easiest way to describe my evolution is to say that I am on a journey to provide painted landscapes no one has experienced before utilizing an ancient medium.
My works can be found in both private and corporate collections and are for sale at my studio and in galleries. I have been the creative force behind special exhibits, such as the one I did for Hermès, when I was commissioned to create the holiday windows for their Manhattan-based flagship store.
In 2012, I was announced as a finalist for the prestigious Basil Alkazzi award for excellence in painting (a $20,000 award). As disappointing as it was to learn I was not awarded the honor, it is significant to my career to be one of 10 finalists out of 1,500 artists who applied. This is part of the reality of being a contemporary artist - there is a great deal of competition to be on the top of the field and market. That is why it is critical to create your own unique style to distinguish your work.