Seeing The World Through An Artist’s Eye With Michael Gadlin
WRITTEN BY ANNIE BLOJ // CULTURE & STYLE EDITOR
PHOTOGRAPHED BY ESTHER LEE LEACH
Visiting Michael Gadlin at his studio at the Blue Silos is like getting a peek into his soul. Layers upon layers of books, paintings, sketches, inspiration, and materials blended with music and dappled studio light make for an experience that is as welcoming and open as Michael himself. It was such a breath of fresh air to spend time with this legendary artist in his stunning and deeply personal space.
Annie Bloj: Upon entering your studio and getting to spend time with you, I instantly felt your creative energy. How did these interests manifest early in your life, and what drew you to follow the path of a painter?
Michael Gadlin: At a young age (which already sounds cliche), my thought process was to utilize my visual language as a way to navigate the world around me. It gave me confidence because I was naturally driven to "make" things, plus I was a bit of a daydreamer. I believed the world of making art and surrounding myself with a life in "art" would gratify and challenge me intellectually. In a very tangible way, it provided me opportunities and a platform for discovery. I always drew pictures and experimented with materials, even electronics; I have always liked to reimagine things and discover their possibilities. Originality has always been an essential concept in my work and practice. Maybe authenticity is a better word because we all pull from what we see and are stimulated by what is around us. A part of my propensity for creativity was to create a world that distanced itself from my childhood. Not that it was bad; in fact, I had a lot of support, and I remember it being a good childhood. But it was difficult at times, and in practical terms, it was often a struggle. I think I saw art as a way out of what seemed dull and uninteresting, going back to my inner desire to challenge those around me and to be challenged personally. That drove me as a child, it still does.
AB: Michael, you are deeply woven into the fabric of the Denver Art Scene. Can you share some thoughts on how it has developed and where it is going now?
MC: It really started upon my return back home to Denver from my time in art college. I was in New York right out of high school, where I attended Pratt, in Brooklyn. I didn't end up staying in N.Y. because of some family stuff that needed my attention back here. So I ultimately came back with no hesitation, really, but not having a plan in place once I decided I wouldn't go back to New York was at first difficult. I immediately started teaching at elementary schools (as artists so often do throughout their careers). I soon realized that I had a lot of support here and places where I could immediately get involved in the art scene. Denver has always seemed to have space for every kind of art and artists who are driven to be a part of its community. I was still interested in connecting and wasn't shy to place myself in front of an opportunity if it arose.
Essentially, I felt I could make my mark here. I'd be remiss if I didn't mention my longtime friend and mentor, Darrell Anderson, who grew up in Five-Points and was a great asset to me. I met him around late high school. Denver's growth and vibrant arts community kept me here. It always seemed to be on the precipice of being on the art-map of national relevance. That was key in my career's early beginnings, knowing I could spread out creatively and not feel stifled by not living on the coasts. Galleries, collectors, and museums had their ears to the ground in many alternative spaces and areas where artists experimented and made art, proving to have some staying power. It wasn't easy, but Denver has a tight-knit art community where you can find your tribe and be a part of something meaningful and growing. I always felt my work could exhibit anywhere in the world, and yet this was the right place (for me at the time) to be a part of a scene that was ripe and moving quickly. Now I feel I've become that mentor (like Darrell was for me) to others. I enjoy and often invite other artists who want to connect into my world to share what I know.
AB: This year has been challenging on all fronts. How has the current climate shaped your work, your inspiration, and your perspective?
MG: I've had many things happen in my work, my career, and personally in 2020. At first, like many of us, there were some unwanted and unforeseen changes that came around. Working in television has been a fun learning experience, and I'm fortunate to have worked with my Arts District team. Changes this past year were inevitably coming to the station. We produced more digital content for online viewing early on during this pandemic. We got a chance to experiment, which was a big bonus in a medium that was still really new for me. That outlet gave us another platform to share local voices, and that was tremendous. Currently, we aren't producing the show anymore. But I've made the most of my time, and now I have more of it to finish other significant projects I've started. The work I'm doing now is an opportunity to experiment and collaborate with others and new ideas in this new media. Working in television taught me a lot about contributing to something bigger and how to work in the world of visual and audio production. It also opened me up to the art of storytelling. Working on an art-centric show like Arts District with such a great production team helped inform me of my work's possibilities. I'm really excited to dive into other projects like podcasting and online digital content as a platform to express another perspective of my storytelling through photojournalism. I enjoy collaboration immensely, and that was a big revelation doing the tv show.
I've always been involved in my community, whether I'm volunteering or teaching or sharing through organizations like Think360, PlatteForum, and MCA, where I'm proud to be a significant part of two Boards. It has allowed me many new opportunities to share and learn from a whole different group of art lovers. Television and media will definitely be a part of my future… However, after a few months away from the production, it's given me a new perspective and plenty of time to reflect on my personal work and what's next… but I don't wait around for something new to arrive at my door. I get back to work and see what sticks.
During the pandemic, I was fortunate to have a couple of big mural commissions that I completed over the summer and fall of 2020 at Riverdale Regional Park in Brighton. It allowed me to continue being active creatively, contributing to Denver's ever-growing art scene, and creating work that matters to a greater community. The new work and opportunities have made me realize the art we make as artists is potentially so much bigger than you might realize. This time for me to create and make art (especially publicly) is about reflecting and expressing the social issues we might struggle to communicate clearly and helps discover all that forms our current landscape— making art all my life has aided me in fully understanding myself in that proverbial landscape. I've always believed that the legacy of an artist is an important endeavor. So I try to look toward those opportunities that give me the most significant challenge and force me to lean outward and help others do the same… you can't do it alone, right!?
AB: Your studio is in The Blue Silos, a unique and historic building near the Western Stock Show complex. You’ve been working on a website to support the artists that call the studios in this building home. Can you share more about this project?
MG: It came about when I arrived six years ago into this particular space. I wanted to document the artists who have spent most of their lives in this building due to the variety of their backgrounds and creative experiences. I loved the supportive community they had built, along with the historic nature of the building itself. I was motivated to finish what I had started a few years ago when I originally photographed the artist Mark Friday because he was leaving the building. In an instant, I knew if I didn't capture this now, the project would never be what it needed to be if I missed this opportunity. Some of the artists have had their studios here since the beginning; everyone who's come through has a story about their unique space and process. So, this year felt like the perfect time to dig in and start setting up studio visits with every artist here in my building. I've always enjoyed being behind a camera, and my new love of storytelling through a photojournalistic lens became a perfect opportunity to take this project on. I am very interested in showing every artist's studio and their process in their space because it has always interested me, and I know that life well. Of course, a bit of the building's history will be an essential part of the story here as well.
The area in this part of RiNo is changing fast and won't be here forever, so it was important to me to represent all the artists who have made their mark in this building so that a broader audience was aware of the impact that they have had. It is not just a memory but a record of being here, which will last in the ethos forever. Like I mentioned before, leaving a legacy is important, so I want to help others arrive there too. That's the job of this sort of journalism. I'm very proud of this project; I used the many facets of my design and photography background and as a visual artist (where I first made my name) to achieve this story with no resistance. Ultimately, it was a great excuse to get to know other artists in the building who I've worked around for years but never got the opportunity to engage with more intimately. We will launch www.bluesilostudios.com this month, giving visitors a very intimate peek inside Blue Silo studios' working artists. Their legacy will forever be available to view in the ethos of the internet. It's gonna be awesome!
AB: You paint, teach, create logos and websites, host the Emmy- Award Winning Rocky Mountain PBS show Arts District. Do you feel as these interests expand your creative reach in unexpected ways? What challenges you these days?
MG: Yes, all my experiences and opportunities have led me into other significant challenges. But, I feel most importantly, it's helped me discover myself as an artist and where I belong. All my various gigs and work has led to projects that have collectively taught me how to be a better professional. My propensity and desire to do everything well is my motivation to explore new mediums. I'm challenged by projects and opportunities that I sometimes initially don't want to do because of the risk of failure. Since I was very young, I was deathly afraid of disappointing those around me, mainly if the expectation was high. To circumvent that part of my personality, I tend to downplay a lot of what I do. It's a way I can navigate confidently through the process until something big is complete. It's kinda funny, but it has worked for me; maybe it's why I've done so many different things, like teaching, television, public art projects, and designing. I thrive off being useful for others. As a visual artist, the medium in media and collaboration creates the most fantastic opportunity to learn new things, sharpen skills, and help others. I can only hope that the projects I'm involved with and currently am working on make an impact in the world. Every day I'm learning new ways we can create change and affect the future by creating good work in our path for the next generation of creatives to glean from.
AB: Michael, I can't wait to come back and spend more time with you at the Blue Silos Studio, and I'm so grateful that I can "meet" each artist on the site you've launched. It was an honor and a privilege to get to know your story, see your process and find out what you are up to these days. I can't wait to see what your next projects bring to Denver and the art world at large.