Michael Morild.
“All of those styles have what is called flash – an art piece and some lettering. So, when I saw Jean Michell Basquiat, I saw that it was possible to not just make something "pretty" but something meaningful, and state an opinion with my art.”
From Neo-Expressionism to Graffiti: Graffiti and car decorations were the beginning of your artistic adventure. Could you explain how your shift to the colorful neo-expressionist style of today was influenced by these early urban influences?
Graffiti and custom art were a soft shift. Graffiti and Custom art are my roots, and neo-expressionism has its roots in those art styles as well. All of those styles have what is called flash – an art piece and some lettering. So, when I saw Jean Michell Basquiat, I saw that it was possible to not just make something "pretty" but something meaningful, and state an opinion with my art. I started as a more Naive/Abstract painter, and then gradually moved to Neo-expressionism.
Growth and Mentoring: You mentioned that artists like Kurt Trampedach and Jens Birkemose taught you a lot. Which lesson from these artists had the biggest influence on you, and how does it still affect your work today?
One of the most important lessons I have learned is to be brave, and dare to DO. As Picasso said (paraphrasing): the biggest gift an artist can get, is to have a mind as a five-year-old again. That is a constant reminder for me, and what I aim to do, because kids don't have any fear regarding their art. They just strive to make what they see from their inner eye.
Another lesson I specifically remember Jens Birkemose taught me, is to build up and break down, and repeat. Once again it returns to being brave, but you need to be brave, to break down parts you like, and believe that something even better will come of it. I now know how important this process is for the finished piece, to break down and build up. It gives dimension to your work.
“the biggest gift an artist can get, is to have a mind as a five-year-old again. That is a constant reminder for me, and what I aim to do, because kids don't have any fear regarding their art.”
Art as Conversation: You frequently use amusing or thought-provoki language in your works. Why do you include written aspects in your work, and how do you want your audience to react to the personal or social remarks you make?
Text in my artwork stems from my background, as written earlier, but it is a big part of the Neo-expressionism style as well. I like to use texts that are somewhat socially relevant, and provocative – without bothering anyone for what they otherwise think.
My statement, that i have used a few times in my art, "Do whatever the fuck makes you happy", is 100% a statement I stand by. You can look, be, mean, and think however you want, but sometimes I get provoked by the people who make the most noise, because it often isn't what is the biggest or most socially relevant problem. They should still do and mean what they want, but my art is my way of contributing to the public conversation - and of course a conversation where there must be room for different opinions and attitudes, because we are all allowed to be who we are. I want my audience to react with curiosity so we can start a conversation.
“I want my audience to react with curiosity so we can start a conversation.”
Color Psychology: It's clear that you utilize vivid, striking colors. What emotional tone do you like to evoke in the audience, and how do you choose a color scheme for each new piece?
I have no plan at all when I start. The image arises in the process, and very much in the process of building up and breaking down. I have had to do with colors throughout my adult life, but I don't actively think that the colors should arouse the emotions - it is more the work and the text, where I actively worked with it. I looked a lot at whether colors complement each other, for example, so it probably happens subconsciously.
“The image arises in the process of building up and breaking down. I don’t actively think the colors should arouse specific emotions—it happens subconsciously.”
Organized Chaos: It's amazing how well-organized your studio is, but your paintings still have a free-spirited, chaotic vibe. Why is a Is a well-organized studio setting so crucial to your workflow?
As private-Michael I am a single dad, which is a big responsibility. Therefore, I thrive best when there is order. I like it when my life is in some sort of organization, and that way of living goes for my gear and surroundings as well. Creativity and passion evaporate completely, when I'm not calm, because Kaos is way too noisy for my creativity to thrive. When I know where everything is, everything flows, because I know where to grab this or that tool that I feel is right at the moment.
“Creativity and passion evaporate completely, when I'm not calm, because Kaos is way too noisy for my creativity to thrive.”
Musical Influence: Your creative process is greatly influenced by loud rock music, particularly that of Blink-182. Could you explain how the energy of the music affects your work or your artistic expression in general?
Music is something very sensual, and for me, it helps to reach that trance-, meditative- or flow state when I paint, because I enter a bubble – my own little universe.Blink 182 is just because it's one of my favorite bands.
Using Icons to Comment on Society: To represent common heroes, you used Batman in one of your pieces for Gadens Børn. How do comic allusions enhance your message, and why did you decide to use Batman for this representation?
These recognizable figures, which are by no means the only thing I work with but are simply part of a repertoire where I can draw on a previous feeling or knowledge that is embedded in the figure, and thereby say something very quickly. This can then be turned on its head or reinforced in collaboration with other elements.
It is a common way of working in pop art, which is closely related to Neo-Expressionism, where you take something generally known and flip it, or use the knowledge and feeling we already have about an object or figure and use it actively in another work. Batman is an easily recognized Hero-figure, but why it was him that ended up in the painting, is uncertain.
Danish Origins, International View: You were exposed to distinctive urban art and cultural settings while growing up in Copenhagen. How do the stories in your paintings reflect the intersection of your Danish heritage and international influences?
I pour all my being, interests, knowledge, and opinions into my work. I try to take many different things in through my life, and what comes out is a result of what I have been moved by lately combined with my heritage.
Toward the Future: What topics or methods are you eager to investigate in the future now that you have established a full-time artistic career? Are you eager to move your art in a different direction?
In my opinion, life is a school and I don't focus on the big moves but am always curious to try new products and techniques. As an example, I've recently moved from large brushes to small brushes to see what it does to my expression, like working more slowly.
I am incredibly comfortable with neo-expressionism, and have no plans to change art form, but you never know. However, I always explore where my art can take me, within the framework set by the genre. I really want to do collaborations, preferably internationally. It could be wall paintings and other things. It could be hugely interesting.
"I am incredibly comfortable with neo-expressionism, and have no plans to change art form, but you never know."
