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| Email artmprice@gmail.com |
| Life Drawing Nearly all my work starts with drawing from the life model or occasionally ancient Greek sculptures. The work explores each model’s kinaesthetic awareness through spontaneous and undirected movement. Each drawing session thus becomes a minimalist theatre of the imagination. The paintings are developed from this material. |
| The Pigments and Gold Leaf The natural and mineral pigments I use not only harmonise with pure gold leaf, but also produce a very different palette of colour and luminosity compared to modern synthetic pigments whether in oil, fir balsam resins, tempera or distemper binding mediums. The pigments include lapis lazuli, azurite, malachite, cinnabar, orpiment, realgar, vivianite, purpurite, red and green jaspers, stibnite, pyrolusite, cerussite, galena, calcite, quartz and Japanese oyster-shell white (Gofun). Other natural pigments include natural indigo, the root madders, cochineal red, and earth and ochre pigments. I have published three papers on mineral pigment preparation and application since 2000. |
Solo show at the Walter Wickiser Gallery, Chelsea, New York, Sept. 2009.
| Rare cinnabar crystals broken out of a calcite matrix. Purchased Aug. 2010. |
| Copyright © Michael Price Inc. |
| Leïla, 28th Dec 2011, No. 1 |
| Leïla, 28th Dec 2011, No. 2 |
| YouTube Making a Painting: 3 Months in 3 Minutes |
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The Timeless Nude The aim of my exploration of the nude and human figure conceived within a timeless universe is to reveal that the archetypal images carried within ourselves are just as real - or imaginary - as the physical world we inhabit. This tangible and finite world provides the inspiration for the painting process. The colour is produced from rocks and crystals including lapis lazuli, azurite and cinnabar, the natural and luminous colours of the Renaissance palette. Since 2008, pure gold leaf provides the perfect complement for the chromatic values of natural pigments. Through the poetry of Euclidean geometry, the structural foundation for a composition is established. This allows the message carried within the image to attain its maximum impact and resonance to unveil the memory of our immortality reflected from the mortal perspective. |
| Natural ultramarine from lapis lazuli crystals and pieces of rock, December 2012. |
email: artmprice@gmail.com |
The artist in his Manhattan studio
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| Work in Progress Compositional Studies 2012-13 |
| Study for "Melancholia I, Magnum opus" natural red chalk and casein wash on paper |
| Study for "Melancholia II,The Philosopher's Stone" natural red chalk and casein wash on paper |
New 4 minute video interview released April 8th 2013 by cdsavoia.com http://www.cdsavoia.com/#/artists/ michael-price |
| Homage to Dürer, Melancholia I, Magnum Opus, 2013 Gold leaf, natural and mineral pigments in casein distemper, Strasbourg turpentine and oil on linen on panel 55.1 x 42.9 ins. / 140 x 109 cm |
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