Hello Everyone,

 

So today I woke up and got a comment about my artwork. It was not a flattering one. The comment read "Looks like shit to me" followed by "your wanting $200 yea good luck with that" followed by a laughing emoji. Now what is our natural, human response to this? Well, my first response in my head, which I imagine most would have the same, was to respond with the same level of negativity I was met with. You feel personally attacked. But rather than comment back, I took a step back instead. Yes, it's my art, my heart, and my soul. I willing put myself out there and allow myself to be vulnerable. But art is subjective. They are absolutely entitled to their opinion. If you don't like it, tell an enemy. If you do like it, tell a friend. 

 

While having this back and forth in my head, it hit me. Isn't art supposed to invoke a feel. Isn't anger a feeling. So, from a different perspective, this is not a negative thing. Don't people when they get bad service at a restaurant, they tell more people about it than when they have good service at a restaurant? Now I could shut down, give into my depression, and stay in bed all day. On the other hand, I can use this as fuel. Someone viewed my artwork, and it caused a feeling in them. So much so that they felt compelled to tell me all about it. That must have been a powerful feeling. I am doing what I'm supposed to be doing as an artist, so I think I'll make more. In my head I hear two phrases that I've came across this week, and they are 'The Eagle Ascends' and 'There is no Spoon'.

 

Some of you might have heard these, but the first one comes from nature. A crow is the only bird that will attack and eagle. They will land on the eagles back, while in flight, and start pecking his neck. The eagle does not attack back. The eagle will start flying higher and higher, until the air becomes thinner and thinner until the crow can't breathe and falls away. The second is from the Matrix in a scene about Neo bending the spoon and the truth is that there is no spoon. The spoon doesn't bend, Neo bends. My takeaway from that was to be more flexible. The more ridged I become, the harder it is for me to bend. There are no limits, there is no fear. These are only constraints in the mind. So, change your perspective. If you see only the problem, you can't see the solution.  If you read only the negative, you won't have the positive to ascend.

 

Let me close by saying this, Be kind. Take a deep breath and a step back. Don't go off your initial reaction. Change your perspective when looking for a solution. And as always, Dream in Color.

 

-Sir Michael Surber

Michael Surber presents the artworks "Watching the Day Go By" and "Wild Flowers" for the international exhibition "Endless", managing to make his artistic and aesthetic conception evident and exploring the surrounding environment, until reaching a purely abstract vision of his inner self. Always discovering new chromatic connections, different techniques and new expressive concepts, the artist aims to capture the optical perception of the observers, involving them in a wide expanse of real pictorial matter. Just like in "Watching the Day Go By": Michael indelibly represents emotions and moods, enlivened by the vision of the lively brushstrokes and that perpetual dynamism that releases a charge of energy and vitality. The different angles of the strokes give depth to the scene, highlighting the colors which become the main protagonists of the composition. The freedom of movement and the dense layers of nuances underline the artist's creativity and indicate a new representation of dimensional spaces, beyond perceived reality. While in "Wild Flowers", Michael wants to best emphasize nature: through a background rich in shades that varies from purple to orange to blue, two flowers with their long green stem seem to emerge from the pictorial surface. Furthermore, the delicate touch of yellow of the corolla gives a great brightness, irradiating all the element present and creating a harmonious atmosphere. It's possible to see in both works the predilection for the expressive and symbolic function of color, with the aim of enhancing the observer's perceptions and suggesting a close bond with the artist and his art. Inviting the viewers to immerse themselves and let themselves be lulled by the undulating movement that his painting skillfully brings out, Michael Surber shares a unique experience where each nuance and shape becomes a source of pure and creative expression.

“Michael W. Surber's artistry is a striking display of color's emotive force and an adventurous exploration of form. His approach to painting is dynamic, marked by a tactile and often thick application of paint that seems to jump off the canvas, engaging the viewer directly. Surber's skillful use of a wide range of colors, from fiery reds and oranges to calming blues and greens, exhibits his deep understanding of color theory and its emotional resonance. One of his notable works features a solitary figure amidst abstract, swirling forms, brilliantly employing negative space. The figure, in contemplative grey, appears absorbed in thought, contrasting with the chaotic, colorful background that suggests a stormy inner world or cosmic beauty, leaving room for diverse interpretations. Another piece, a lively portrait, radiates life through bright colors and bold strokes. The figure's joyful expression, set against a warm-colored backdrop, highlights the painting's vibrancy and Surber's ability to encapsulate the subject's essence while letting the medium itself express emotion. Surber also showcases versatility with a piece that combines collage and line drawing, creating a complex narrative about human identity. This work, featuring a face made of torn text, blurs the lines between artistic disciplines, prompting reflection on personal stories. His landscapes add another layer to his collection, with one particular piece suggesting a vibrant, moving landscape through sweeping color strokes. The thick paint application adds depth and texture, crafting a dream-like reality that oscillates between the real and surreal. A floral artwork in Surber's collection stands out for its dynamic, almost musical quality. Depicted with broad strokes and contrasting colors, the flowers seem to leap from the canvas, celebrating natural beauty and spontaneous expression. In his exploration of mixed media, Surber creates complex portraits using materials like vinyl records and cassette tapes. These pieces create a dialogue between past and present, individual and collective narratives, demonstrating his eye for composition and cultural commentary. Other works by Surber capture movement and energy through dynamic lines and paint splatters, creating a sense of rhythm and controlled chaos. These pieces seem to visually map unseen dances or unheard music. Finally, one piece in particular uses color and light to evoke serenity and depth. Cool blues and purples, combined with stark white highlights, create a tranquil scene, contrasting with his other more energetic works, and showcasing Surber's range in evoking diverse emotions. Michael W. Surber's body of work is a deep exploration of color and form's emotional potential. Each piece, whether figurative or abstract, stands as a testament to his ability to convey complex emotions and ideas visually. His art encourages viewers to engage deeply, feeling each painting on a visceral level, and is a bold, colorful affirmation of the enduring power of painting in a digital age. Michael W. Surber's art transcends the conventional boundaries of painting, offering a multi-sensory experience that engages not just the eyes, but also the heart and mind of the viewer. His use of mixed media in several pieces is not merely a stylistic choice but a deliberate effort to merge traditional painting with contemporary art forms. This is particularly evident in works where he incorporates vinyl records, which provide not just a textural element but also symbolize the layers of human experience and memory. These pieces do more than visually impress; they invite the viewer to engage with the artwork on a tactile level, imagining the feel of the records' grooves and connecting with the art in a uniquely personal way. Another piece, featuring cassette tapes against a monochromatic portrait, continues this exploration. The contrast between the ephemeral nature of music captured in the tapes and the permanence of the painted portrait creates a compelling dialogue about time, memory, and the interplay between different artistic mediums. Surber's work often transcends the visual, invoking other senses and creating a synesthetic experience that is rare in visual art. Surber's landscapes and abstract works, such as those depicting atmospheric skies, demonstrate his exceptional skill with color gradients and his ability to manipulate paint to capture the ethereal beauty of the natural world. These landscapes are more than mere representations; they are interpretations, where the skies become dynamic characters, reflecting the transient beauty of our world. In his vivid floral compositions, Surber abstracts the essence of flowers through bold strokes and contrasting hues, moving beyond photorealism to engage with the symbolic representation of growth and life. This approach allows viewers to interact with the artwork on a deeper level, connecting with the vivacity and symbolic meanings rather than just the physical form. Michael W. Surber's oeuvre is a celebration of painting as a medium. His expressive strokes, innovative textures, and bold use of color demonstrate a profound understanding of painting's potential to move and connect. Each piece is a unique narrative, contributing to a cohesive body of work that is not only a visual feast but also a profound commentary on the human experience. Through his art, Surber reminds us of the enduring power of painting to evoke deep emotional responses, bridging the gap between the artist's vision and the viewer's experience. His work is a vibrant testament to the relevance and vitality of painting in an increasingly digital world, inviting us to pause, reflect, and feel. Michael W. Surber's artwork stands as a vibrant anthology of emotional expression, each piece a testament to his profound ability to communicate through the canvas. Surber's paintings are a dialogue with the viewer, inviting them into a world where color speaks louder than words, and the texture conveys stories that transcend verbal narration. His masterful blend of mediums, from the traditional strokes of paint to the innovative use of mixed media, results in a body of work that is both groundbreaking and deeply rooted in the artistic tradition. Surber's oeuvre is a celebration of the sensory experience of art, a reminder that to engage with a painting is to engage with life itself. His work captures the ephemeral, the enduring, and the ethereal, encouraging a contemplative journey through the landscapes of human emotion and the natural world. Through his art, Surber challenges the viewer to not only observe but also to feel, to explore, and to connect with the deeper narratives woven into the tapestry of his compositions. As an award-winning Ohio-based artist, Michael Surber has carved out a unique niche in the art world, one that honors the legacy of painting while pushing its boundaries. His artwork continues to inspire and captivate, securing his place as a significant contemporary artist whose work resonates with a wide audience, inviting us all to find our own stories within the vibrant hues and bold textures of his creations.” By Marta Puig Editor Contemporary Art Curator Mag

Michael W. Surber: Review by Anthony Fawcett "Switch clicking off in my head, turning the hot light off and the cool night on, and - all of a sudden there's - peace!" Brick exclaims in Act Two of Tennessee Williams' 'Cat On A Hot Tin Roof'. Well, that's the sort of jolt I get from immersing myself into the paintings of Ohio-based artist and muralist Michael W. Surber! Surber's multifarious portraits and self-portraits relatively zing with the brightest colors imaginable, often rendered in a kind of psychedelic post-pop, post-punk, Haight Ashbury (purple) haze! And don't forget this is the State where the fabulous DEVO came from to conquer the world. I was comparing one of Surber's exploding portraits with Picasso's 'Portrait of Piero Crommelynck' (September 23, 1966), and there were extraordinary refined but chaotic similarities. Whilst many portraits are expressionistic and look as if they had been painted in a frenzy, others are more poster-like and theatrical, reflecting Surber's training as a graphic designer. One series of alluring film goddesses uses collage or digital manipulation to great effect. Michael W. Surber's oeuvre seems to be filtered through a rich web of associations which finds visual expression in the transformation of his myriad sitters - who l imagine are both close friends and perhaps a few from his dreams? In fact, in a fitting statement, he tells us that his motto is "DREAM IN COLOR!" | look forward, in great anticipation, to following Surber's now global trajectory. -Anthony Fawcett