Mom, it’s not a phase! It’s true, Michelle is still a goth and is making amazing Tim Burton inspired art.
Michelle Dahl is an award-winning artist living in Raymond, Washington. She started art at a young age but was forced away from her dream to pay the bills. After an accident in 2013, she came back to art, completed her Studio Arts Degree from Sierra College in 2019, and is now open to commissions.
First off, tell us about your artistic past, would you tell us about your early years?
I have been drawing since I can remember. My earliest memories are asking my mom to draw me a horse, and then I would duplicate it over and over again until I mastered it. I started painting sometime in grade school and had my first run-in with oil painting in 7th grade via Bob Ross. I had a home-room teacher that year who was interested in art, and he hung up all of the Bob Ross paintings I made so I could sell them to teachers and the other kids’ parents. I was dumb and only asked $20 per painting, thinking I’m hot shit, when really that didn’t even cover the cost of supplies. I was very ignorant, but I knew I wanted to make art for a living.
In high school, I got some training in drawing, sculpture, painting, and photography. I took every class offered and even gained some additional tutelage from the drawing and sculpting teachers when I worked as their teacher’s assistant. When the time came to pick a college, I got the seriously terrible advice “If you do what you love for a living you will end up hating it,” from my father, and I faltered. I took art courses at the local community college for fun, but eventually dropped out and just went to work to pay bills for the next ten years. In 2013, I was forced to retire early due to an ongoing disability in my spine. In a way, it’s the best thing to happen because it took me out of the soul-sucking cubicle farm and forced me into my own head. I returned to the community college to finish my degree, brushed up on my skills, and got back to my goal of making art as a lifestyle.
How would you describe your aesthetic?
My aesthetic varies slightly with each project, but I am always centered on realism. I like to create beautiful images with clear visual language. If you think of visual art as a form of communication, I wish to communicate that clearly. I tend to be blunt and straight-forward in life and want my art to reflect that. There is a saying that artwork should “disturb the comfortable and comfort the disturbed” which I don’t agree with. Sure, there’s a time and place for that. Currently, there’s enough ugly and negativity in life, and I want to do my part to add some beauty in the world.
Which artists have the biggest influence on your aesthetic?
I will always appreciate Leonardo da Vinci for his attention to detail and observation, technical knowledge, and versatility. I fell in love with Caravaggio in college for his dramatic chiaroscuro and dark scenes. John Singer Sargent for his “economy of effort” in approaching a classical looking painting with an impressionist’s efficient method. I love Halloween, so Tim Burton is obvious. I really appreciate that Burton blends darkness, elegance, and a bit of humor. And two other contemporary artists I have been poring over are living master Cesar Santos for his technical ability and humor, and Chris Guest for his painterly approach and dynamic compositions.
What’s your favorite medium?
Oil painting is my jam. I think it has a greater range of options once you consider different applications and additives, and the science of painting with oil is fun. Oil paint is naturally translucent, save for white, which is why oil paintings seem to have more depth or realness. The light passes through the glazes while white stands opaque, and that’s why subjects feel more 3D when viewing it.
Do you have other mediums or creative pursuits?
All of them! I draw, paint (oil, acrylic, watercolor), sculpture, sew, knit, light carpentry, gardening, design, baking, etc. My two recurring side projects at the moment are renovating my old house and making custom tactical gear. My boyfriend challenged me to design and create a better holster to carry an ax, as if for combat, and I can’t pass up solving a complex problem.
What’s the last piece of art you’ve admired?
There is no name yet, but I have been watching the progress of artist Arantzazu Martinez on Instagram (@arantzazumartinez.artist). She has indicated the painting will be her masterpiece for the IBEX Collection in NY for early 2020. I stumbled across her account a couple of months ago, and I am really digging what she is creating. She works big, and it is inspiring me to think larger as well.
What’s your source for experiencing new art?
The biggest sources are Instagram and Youtube because they are so easy to access. They are great index tools, but nothing on a screen will compare to seeing the work in person. I like to hunt for small, local galleries that I can visit on a semi-regular basis.
If you could collaborate with anyone, who would it be?
No brainer, it would have to be Tim Burton. He puts so much into the characters, the design, and the environments, and he makes it all cohesive. I feel like my skillset in both art and in building and fabricating could be put to good use, and I could also learn so much from him. I think that would be a fun experience to see how he approaches his work and the method behind the madness.
What led you to art, and what motivates you to keep making it?
I really don’t know what got me started as a kid besides maybe boredom or curiosity, idle hands and what-not. Art has always been something I do, and it feels weird if I’m not being creative. I keep going back to art because it is something I feel I can contribute, something I’m good at. I am constantly striving to learn more or to improve; it remains both challenging and rewarding. I enjoy the process of problem-solving.
Tell us about the creative process. How does it all come together?
Repetition and neurosis with a heavy emphasis on the neurosis. Most of my process is getting a single image or a message I want to convey, and working it out in my head a dozen different ways. Sometimes it’s a frozen image I can’t seem to shake. I obsess over the idea for days or weeks to out the structure, anatomy, design, and color that will bring my image to life. I will lose sleep and put off other important tasks. If I am already working on multiple projects, I jot down the ideas for later. There are comical amounts of small slips of paper with scribblings on them tucked into books, shelves, and drawers. By the time I get to putting paint to canvas, I have already completed the thing in my head. Most teachers drill you to make preparatory studies, but I only tend to make a smaller sketch or color study when I feel intimidated or want to try out something new. Once I am confident in what I want to convey and that I have worked out the structural components, then it’s just a matter of getting it out of my head and onto the canvas.
How do you connect with your audience? What is the easiest way for them to connect with you?
I post daily sketches, progress pics, and completed paintings on my Instagram, @michelledahlart and I have a website www.michelledahlart.com for news and paintings. The easiest way to connect would be either to send a direct message through Instagram or to hit the Contact Me page on my site, which emails me directly.
You’re having/just had a studio sale. What spurred that, and how is/did it go?
Yes, I got one of my favorites to a good home, so I’m calling it a success. A few ideas inspired the sale. First, I am prepping to repaint and renovate my studio room and came across finished paintings that needed forever homes. Second, I have a group of paintings I would like to work on. The new group of paintings is a syncretism between the heavy technical process I love and influence from the more painterly impressionism. They will be a bit different from my past work; re-homing them was an exercise in catharsis. Thirdly, I really wanted to see how this new website handled sales.
Could we expect another one during the holiday season?
Unfortunately, I just don’t have enough inventory on hand for this season. I have a commission coming up and several pieces I have wanted to start on. Next year I would really like to have a small works studio sale for the holidays.
Your art tends to have characters from Tim Burton movies. Would you consider his movies an influence on you? Why that look?
Absolutely. I have always loved Halloween, monster movies, and macabre. I never grew out of the “phase” of goth/punk subculture. Tim Burton films and his art always stood out to me. I can recognize a clear artistic “voice” with his images: They are dark and emaciated, yet cute and elegant. I think he was heavily influenced by film noir because his characters always have dramatic, dark eyes. There is also an interesting and humorous subtext to his storylines. I really enjoy Burton’s look because it seems very timeless and original to me. I would categorize his art as contemporary surrealism, definitely drawing on work from Salvador Dali. His characters convey frailty and death, but at the same time, elegance and beauty. Anatomically, they are impossible, but somehow they seem structured and balanced. And they fit naturally in the beautiful world he creates for them. The approach to world design reminds me of Sargent’s Economy of Effort. Burton doesn’t do much to the environment, an exaggerated line here, a pinched angle there, but you know that it is uniquely his. I think that’s the biggest attraction for me – just a slight adjustment to create a completely different aesthetic.
Are there any other movie influences you’d like to tell us about?
Movies, music, life, the influences are everywhere. Storytelling has been high on my list lately. I really enjoy film noir and stop motion for their grainy, jerky motion. The 1922 Nosferatu, along with anything made with Vincent Price have been longtime favorites. Stephen King has been another influence growing up because his biggest, scariest monsters have always been inside of us. Mostly, I miss when monster movies commented on the human condition.
You use a variety of techniques in your art. Which is your favorite and why?
The creative process is really about exploration and problem-solving. I am still a “young” artist professionally, partially because I haven’t committed to one particular technical approach. I enjoy the learning and exploration that comes with trying out new or different methods. The good or bad result of that, depending on your values, is that those experiences shape my aesthetic. The subject itself will influence how I want to create it. For pets and nature, I take a much looser impressionistic approach in order to capture texture, whereas classical glazing and blending feel more appropriate for the human figure. My new series for 2020 focuses on combining what I love about both of these approaches as I really hone in on what I value. Along the way, I will be defining my own set standards of technique.
Pet portraits are a favorite for people. Do you still do them? Did lots of people order them from you? Did you enjoy making them? Any challenges?
Yes, I love them! Bring me all of your pet photos! My earliest memories are of drawing horses and other animals. In my first official oil painting class, I painted my dad’s dog as a Christmas gift and my final project. My teacher thought I was ridiculous, but that painting really started me off with a bang. Since then, I would say pet portraits are a top seller, and people love their pets. I love their pets. Simple.
The worst part is that I don’t actually get to pet the pets. Actually, my biggest challenge is the business side. Figuring out how to make curly hair or short hair are the fun parts. Pricing, marketing, and selling are where I find myself calling for help. The sad and funny thing about going to school for art is that no one actually teaches you how to be an artist.
What are your favorite subjects?
Animals (including humans) followed closely by landscapes. My favorite aspect of creating a painting is when the personality shines through. I think that’s what makes my pet portraits especially popular; I focus on capturing the individual pet.
Has any piece of art you worked on been particularly challenging?
I had a nightmare experience with some bad varnish once. I was very fortunate that the collector was so patient and understanding. The painting went fine, but it was winter, and the varnish was taking forever to dry, and I was almost at the deadline I quoted. When it finally dried, the entire painting was covered in foggy bubble marks that looked like I sealed it in tapioca! It was an off-gassing reaction due to the cold, and I suspect non-compatible brands of paint medium and varnish. I could either repaint the whole thing, and double the timeline, or try to resurface the painting like they do in museums. Luckily, the painting was a small, 12 by 12-inch portrait, so I decided to try to salvage it before starting over (mostly to see if I could). It took a full day to painstakingly remove the varnish with Q-tips. It took another week of curing and varnishing before I could finally ship it out. I felt guilty for being ten days over the quoted timeline, but the collector loved the painting, and I am forever grateful for his patience and kindness with that mess.
What is the longest you’ve spent on a piece?
Start date to finish date – 4 years. My BeetleJesus painting was started in 2014, but I only got around to completing the hair in 2018. Actual time spent would probably be the piece I am working on now, and I think at last count, I am pushing 50 hours.
Which piece of art are you most proud of?
My favorite answer to this question is from Cesar Santos: “The one I’m working on next.” From a technical aspect, I impressed myself with the first pallet knife painting I made, a pet portrait of the Instagram-famous Frenchie, Walter Geoffrey, because I feel like that was a huge accomplishment in technique for me. Using a pallet knife to paint is way outside my wheelhouse. The experiment was scary and imposing, and yet somehow, it all happened organically and easy. While this painting was a blast to make, I don’t see my art following this style.
What’s next for you?
I set a goal to produce a number of small works for a studio sale in time for the 2020 holidays. A more long-term project I am working on is to create a definitive series. Mostly, I have painted whatever appeals to me at the time and individual commissions. I set the task for myself to make 6 to 8 pieces that don’t necessarily connect directly to one another but are cohesive. This series will explore storytelling and combine the different methodical approaches we discussed above.
Anything else you’d like to add or let us know about?
Check out my website and Instagram, and I am always open to commissions.
If you enjoy talking about art, send me a message. Critique my work, tell me who I should be looking at, ask questions – let’s talk art!
Review: It’s obvious that those who enjoy Tim Burton’s movies and art would love Michelle Dahl’s aesthetic. Fans of Jhonen Vasquez would appreciate Michelle’s paintings even though her paintings lean more toward the realistic, and Jhonen’s leans more to the cartoony with Invader Zim, but they both have that modern-day gothic appeal. Michelle’s pet portraits appear to be alive. When you look in the animal’s eyes, you could almost feel the soul of the animal. The personality of the animal is most assuredly captured in the painting. If you’re a fan of amazing pet portraits, if you love the aesthetic of Tim Burton or Jhonen Vasquez, you need to follow Michelle Dahl’s Instagram and get involved with her website.
