When it comes to making impactful art, the secret isn't so abstract

Feb. 4—If an artist has enough talent — that is, has experienced enough failure in pursuit of perfecting their art form — then their unique style may begin to be noticed.

This was the experience of Denver-based artist Michael Gadlin, who at the early stage of his career in the late 1990s and early 2000s eventually heard different art critics and buyers identifying his newest compositions as "Gadlins."

Most "Gadlins" are abstract, invisibly dictated through a cathartic process that Gadlin himself has adopted in all of his work. Already reaching the pinnacle of his technical ability, he decided that it was time to move away from universal art tools and universally made canvases, and instead crafts his own tools to paint on discarded drop-cloths.

His work has become more robust, crude and true to the raw emotion that Gadlin sought to capture in his most recent paintings, several of which will be displayed in the Esther and John Clay Fine Art Gallery next week at Laramie County Community College.

"I've always broken rules in my work, but I (used to be) concerned that people could see the skill," Gadlin said in an interview with the Wyoming Tribune Eagle on Tuesday. "In the past, I've gotten awards for my work, but I say that to laugh, because it's as though as I get older and more seasoned and more mature, my work seems more crude. I do that deliberately."

An artist's true technical skill can be overshadowed in abstract work, a popular example being the common critiques of Jackson Pollock's "drip paintings." Artists that push the limits of the creative spectrum are, more often than not, highly skilled in their technical prowess.

Dig into early Pollock paintings, and you'll discover masterfully characterized landscapes.

Gadlin, and other abstract artists, aren't being cryptic for the sake of their own self-satisfaction — their paintings are meant to evoke as much emotion as any other. The difference is that it's less about the literal image of the painting and more about the emotional thread that runs through it.

"Who the hell needs another pear painting? Who needs more flowers in a vase?" Gadlin said about still-life paintings.

Portraiture has stood the test of time and will ultimately continue to do so. But during the interview, Gadlin rhetorically asks if someone could describe a single Renaissance portrait that has stuck with the viewer over time. He's asked students the same question, almost always being met with silence.

If there was something that stood out to them, it was due to unique imagery or emotion conveyed, which, make no mistake, can happen in portraiture as often as any other visual medium.

"That thing they remember about a great painting has nothing to do with the landscape," Gadlin said. "It has to do with how the artist's approached it and what they said about the landscape.

"Great artists paint beyond their subject, because the subject, in essence, is just an excuse to make a statement."

Two pieces that will hang in the gallery at LCCC actually are portraits, but they are unequivocally "Gadlins." Colorful, sparse, demanding observation and deeper analysis, the works are a prime example of identifying the thread that makes a painting worth admiring.

"I just have to make a mark and respond more physically than mentally, and then you do enough of that and you have what absolutely like looks like regurgitation and chaos," he said.

"Then the goal was to organize that into some semblance of meaningful objects and shapes and color. And that's how all those were formed."

Equally embedded as his sense of artistry is his desire to serve as an advocate for the local arts community and Denver's surrounding suburbs. Gadlin was once the host of "Arts District" on Rocky Mountain PBS, a show that highlighted the work and style of different artistic mediums throughout the region.

Though he no longer hosts television or art classes as like he used to, Gadlin still serves on the board for the Museum of Contemporary Art Denver. On boards like this, he's learned one other cutthroat life lesson.

"I learned so much from serving on boards of arts organizations," he said. "The best quote I've ever heard was, 'If you're not at the table, you're on the menu.' I think artists are so often on the menu when we need to have a seat at the table. I have a voice, and I felt the responsibility."

"I take it on, I love it. I'm passionate about it."

Gadlin is also a longtime teacher, something that is evidenced by his enunciated voice and enthusiasm for the subjects he works in. It wasn't always an attractive title to carry, as he would often recall the outdated adage "those who can't do, teach."

This conflicts with an equally old concept — one of the best ways to learn is to teach. Serving as a juror for the Cherry Creek Arts Festival gave him greater insight into the professional, business side of art than ever before.

"When you're (serving as a juror) and you're listening to what others have to say, it really clues you in on things you're not taught either in school or just in your studio," he said.

As always, artists face an elevated struggle across the Front Range corridor, while places like the Denver River North district continue to serve as a haven for muralists and art festivals. The most difficult hurdle artists need to clear is finding a way to support their desire to create, whether that's through selling art or maintaining a career outside of their fine art.

This is where the majority of career-aspiring artists fall by the wayside. There's an irony in the fact that most of the classes that Gadlin taught were composed of wealthier individuals — often collectors — who have the liberty of spending extra money to advance their skills in the craft.

If there's a piece of advice that Gadlin champions, it's for an artist to hone their craft until they're prepared for any scenario. Likening expertise to a veteran comedian's experience of bombing a stand-up set to the point that they can work the crowd in any scenario, the only time Gadlin can make a bad painting is if he "chooses to do it."

Artists should aspire to reach a point where they can control failure.

"I see this on Instagram all the time: sexy artists have a sexy studio and they just start painting. It's the artwork that you'll see in a hospital waiting room," Gadlin said. "They're pouring paint with water and the spills look really cool because the purple is blending into the blue. Everyone does it, and it's super easy, but it doesn't have anything behind it. That's not what art and artists are about."

"I don't know, am I being too bitter?"

Will Carpenter is the Wyoming Tribune Eagle's Arts and Entertainment/Features Reporter. He can be reached by email at wcarpenter@wyomingnews.com or by phone at 307-633-3135. Follow him on Twitter @will_carp_.