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Michael Gadlin

I am dedicated to sharing the experience of making art with organizations like VSA, because of their passion in helping young people with a wide variety of unique abilities. VSA’s attraction is in fostering relationships with experts in the field of art, creating lasting relationships that make a difference. My own process is often about community experience and collaboration. I have a passion for helping people see their own potential. I love being a part of a team like VSA because of their commitment to their immediate community. It is the most effective and direct way working with them creates memorable projects that matter most. Touching the lives of people in ways that make a real difference.

BIOGRAPHY

Exhibiting in select galleries, museums and institutions worldwide, Michael has been commissioned by governments, Fortune 100 corporations and private collectors, and has been exuberantly heralded in the press. Born in Denver, Colorado, Michael has been exhibiting work throughout the United States and most recently in France, where he received a residency through La Napoule Art Foundation given out only once a year. Michael studied at the Art Students League of Denver and later attended the prestigious Pratt Institute in New York.

In 1999 Michael was the youngest artist ever to win Best of Show at Denver’s nationally renowned Cherry Creek Arts Festival. The Vance Kirkland Museum has acquired work as part of their permanent collection. Michael’s well-received public art installation, commissioned by the city of Denver, hangs permanently in Denver’s District 2 Police Station. The Fort Collins Museum of Contemporary Art selected Michael to be included in the museum’s Rocky Mountain Biennial.

PRESS QUOTE:

“Today’s art has a freer hand. Fair to say Gadlin is less concerned with precision and more with fervor and provocation. Surely, there is structure to the madness. Gadlin happens to be talented at drawing, so his lines are amazingly straight and impeccably spaced when he wants them to be. There are no certain objects in the pieces, though his curves and shapes are clearly influenced by figurative skills. They are sensual and, at the same time, art-historical, with subconscious nods to pictorial traditions.“

– Ray Mark Rinaldi

Art Critic / The Denver Post