Michael H

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I have been immersed in the work of Ken Wilber since I first read A Theory Of Everything several years ago. His writings, the integral framework, and the insights on Spirit, consciousness and development have really informed the context for these paintings.

As an art form, painting has the potential to engage both artist and audience on multiple levels at once. I think a great painting is one that goes beyond the ordinary in each of these layers. With apologies to deconstructionists and abstractionists everywhere, for me this is particularly true of representational painting. The simple reason being that it contains within it more layers than abstraction. Everything that is "in" an abstract painting is present within a representational piece, but not vice-versa.

The first and often most powerful level that lights up in the viewer is what you might call the "WOW" factor. The immediate aesthetic apprehension of the piece that arrests the attention. It is the part that transcends words and analysis. Really, if you don't hit this one...what's the point?

The next layer that impresses itself upon the viewer is usually the "meaning" of the piece. This depends on the ability of the painter to convey his concept or idea effectively so that it resonates broadly in the minds of viewers. It's the "Hey, that's clever" moment.

The next level of depth that may reveal itself to the viewer is the skill with which the painter manipulates the physical materials themselves. Mastery of this level can range from the sublime handling of colour and light of Caravaggio to the sumptuous gobs of Van Gogh's frenetic expression frozen forever in time and colour. It's the "I can't believe someone can do that"-ness of a painting. It can be alienating to many people when this level is so often dismissed by a post-modern art elite who emphasize concept or expression – sometimes to the exclusion of skill or technique.

In general, I would say these are the layers that are present in a great painting. From "WOW" to "we get it" to "how did he do that?". I think this aligns rather nicely with the "I", "We"and "It" domains of the Integral map. The painter is like a juggler of depth - striving to keep every ball in the air at once with each new canvas. All for the delight and wonder of the crowd.

Michael Harris is an oil painter, song-writer and world traveller from Toronto. He is self-taught, having never sought out formal training in art. Michael briefly studied graphic design in college following high school, but left after a few months to backpack through Europe. Seven months of immersing himself in the galleries and culture of Europe at 19 was followed by a year of travel in Australia at 21. At 24, to mark his transition to the ranks of professional artist, Michael took his paints and palette on his year long "trip around the world" - painting his way through Hong Kong, Thailand, Australia, Nepal, India, Greece, Turkey and the UK. Between trips, Michael honed his skills as a working artist; doing everything from painting reproductions for an international art company, to illustration, to portraiture and other private commissions.

Michael has spent years developing and evolving his approach to painting in oils. His evocative landscape paintings have been sought after by designers and art enthusiasts in Toronto for several years.

His controversial on-going series featuring the iconic symbol of the Canadian Mountie crucified has garnered attention, including articles in The Toronto Star and Eye Magazine. A recent addition to the series which portrays former media mogul Conrad Black in the roll of the crucified Mountie is featured by Mr.Black in his newly published autobiography, "A Matter of Principle". Black has since commissioned more work from Michael in addition to the original piece. Michael’s work is included in the corporate collection of the legal firm Norton Rose and Associates.

The focus of Michael's current work is his enigmatic and provocative figure paintings which includes his "black and white" series as well as his series of climbing and flowing multiple figures. Michael's work is deeply influenced by his interest in psychology, consciousness studies, politics, and the Integral philosophy of Ken Wilber.

Michael is represented in Toronto by: Gallery 133, Art Interiors, Rouge Concept Gallery, Engine Gallery. In Ottawa by Terrance Robert Gallery. In Melbourne Australia by Jackman Gallery.