Michael McGrath
This Upstate New York-based painter embraces fear and the unknown “....at the end of the day, I am just figuring things out as I go and creating my own methodologies."
Michael McGrath (b. 1977) is an American artist living in the village of Rhinebeck in New York's Hudson Valley. His recent work is inspired by his current upstate NY environment and its history, but also in his curiosity in the cults of mysticism, mythology and religion through the lens of naivety. His work also explores common childhood fears such as monsters, weather and insects, as well some fears that continue into adulthood, such as the fear of crowds, the fear of god(s), the unknown, and ultimately death. Michael embraces these fears and mysteries with the mindset, gestures and colors of both his inner child and outer adult.
Mepaintsme: To begin with, you and I have something in common, in that I used to live in Upstate New York near where you currently live and work. I left about 10 years ago, but when I was there, I felt pretty isolated. What's the scene like now? Have more creatives moved to the area? Is there an arts community that you feel connected to?
Michael McGrath: There are art scenes here. I'm not very connected to them, but I've met many artists, actors, writers, and musicians who live nearby. Kingston and Woodstock are just across the river, with Hudson and Beacon not far to the north and south. We lived in Boston for about 16 years, and I didn’t know any artists or see much art. I painted in my basement for years without showing my work to anybody. I didn’t even consider myself an artist. It wasn’t until I moved back to NY and started meeting artists and musicians who introduced themselves as such that I started feeling comfortable even telling people that I painted.
MPM: I’m glad you moved out of the basement! Is painting what you studied at school?
MM: I received a BFA in Fine Art from Ithaca College, but I focused on sculpture/fabrication and media arts. While I did take painting classes, I lacked the patience for traditional techniques and wasn't very proficient at it. I picked up painting again and retaught myself years later.
MPM: I’ve found your work engaging in that you balance a host of recurring symbols that are a bit nightmarish, yet with a warmth and humor. Is your own interpretation of the frightful therapeutic for you? Do you find comfort in the work?
MM: Yes, to all of that. I mostly work intuitively, but I do have a visual language that I repeat and remix. I try to cover an array of emotions with each piece. Some paintings may go to a dark place on the surface or serve as a metaphor for something real—an event or a fear—but I typically end up adding something happy or humorous. I’ve tried to resist this in the past because I felt that the work wouldn’t be taken seriously or might come off as illustration. As time goes by, I am becoming more comfortable and happier with my finished pieces. I think I find comfort in the work weeks or months after it is finished and I take some time to reflect on what it’s about.
MPM: How do you typically begin a painting? How would you describe your approach when beginning a work?
MM: I don’t have a strict process. Sometimes I start with a stretched canvas on an easel, and sometimes it’s unstretched on the floor. I don’t have a predetermined vision of what the final painting will look like, but I generally have a rough central subject or story. I palette on the canvas and do some blocking just to start building up layers. Sometimes I can determine the composition quickly, but often, I paint and repaint areas or the entire piece until it starts to feel right.
MPM: That sounds very intuitive. It also seems like this openness has led to quite a bit of variety in your use of materials and experimentation in your work. Is this something you embrace, or do you find yourself fighting against the impulse to stray into new creative directions?
MM: I embrace it. I really enjoy using different mediums and materials. I’m starting to work on more fabricated/dimensional work, including some fiber pieces and ceramics. I try to follow best practices and watch instructional videos, but at the end of the day, I am just figuring things out as I go and creating my own methodologies.
MPM: That reminds me of the three dimensional Sasquatch-like figures I’ve seen accompany your paintings in exhibitions. When did you start creating these figures?
MM: Yes, they’re yetis, but I call them grouches. I painted a few and wanted to make a full-sized dimensional version, so I made one. But now, I keep making them. I’m not sure why—they take forever and take up a lot of space.
MPM: Do you have a regular schedule when you work? Could you describe a typical day in the studio?
MM: I don’t have a regular schedule. I split my time between painting and working at a design agency I own with a partner. Sometimes I paint during the day; often it’s at night after my family goes to bed and I don’t have any distractions. I usually have a few different paintings of various scales going at once. Sometimes I take a break from painting and work with colored pencils on birch panels.
MPM: What's the atmosphere when you work? Do you listen to music or podcasts? What are you listening to?
MM: During the day, I listen to music. I have pretty much reverted to listening to whatever I liked in the '90s/'00s, so lots of The Cure, Pixies, Neutral Milk Hotel, Tom Waits, VU, Grateful Dead, Faith No More... but I also like most genres of music. At night, I watch TV or movies while I paint. I rarely listen to podcasts or read books. I wish I could, but I just don’t have time.
MPM: Your days (and nights) do sound really full! Do you have any projects on the horizon (outside Stray Passages) that you'd like to mention?
I have a few collaborations in the works and some upcoming group shows, but right now I am mostly focusing on a two-person show with Ken Hiratsuka this August at 1053 Gallery in Fleischmanns, NY (in the Catskills). I don’t have too much planned after that.
MPM: Great I’ll keep an eye out, as I sometimes return to the Catskills to visit.
Michael McGrath’s work is currently on view in the group presentation, Stray Passages, at MEPAINTSME.