Aquabord artist Michael Ireland believes successful public art is in effect, a way-finder, a sense of place. Geographically, it gives us a guide or reference relative to where we are going or a reminder of where we have been. It can also be a way-finder that guides our beliefs or challenges us to look within, perhaps grounding our senses as we experience our surroundings in a slightly different way.
1. The majority of your work is large-scale commissions. What led you to creating large-scale public art?
I was producing large film and video projection projects earlier in my career. It wasn’t uncommon to produce a piece 100 feet wide utilizing multiple film and video projectors, so I was used to seeing my work at a very large scale. Working as a painter, a number of factors played into creating large-scale work. One was certainly adapting my work to Aquabord. I came out of a traditional school of painting in watercolor, requiring matted and glazed artwork shown typically in frames. I began to paint larger and larger on paper, and when it came time to frame, the cost was ridiculously high, but most of all, the reflection from the glass or plexi was a serious detriment to the aesthetics of viewing the work.
I started relatively small with Aquabord, and then I just called Ampersand. I connected with Andrea Pramuk (now quite the prolific artist herself!), who I think enjoyed hearing from this crazy guy wanting to find out just how large I could get the sheets. The next thing I knew, I was painting on sheets that were 8 feet wide, with paintings twenty feet long. Of course, then, everything grows exponentially. I learned the process was more than just painting. Everything became bigger, from framing to shipping to paint supplies. I had a lot of supportive advice from clients and friends, which allowed me to prove myself creatively and as someone who could be relied on from start to finish. I’m proud of that.
2. What are some of the lessons that you have learned from each of your projects?
I’m not sure if I could call them “my” projects. My art is often commissioned by a project team led by an architect, designer, or consultant with an overall vision. It’s important to remember that you are part of a team working toward a common goal or deadline.
3. Your pieces begin with you “creating an atmosphere.” Can you tell us more about this?
Just as there are gray days, there are also blue days and green days, etc. That applies to every subject or even to nonsubjective work, for that matter. Atmosphere is the environment coupled with the mood or vibe, so to speak. I’ve found that keeping a limited palette is the key in that case. Triads work very well for me. I’ll start much of my work with an underpainting of sorts which can set the tone using color washes or establishing a value range. And then, as I move into the next few passes, I seem to fall into that “atmosphere,” and the brush takes over.
4. What are some advantages of using Ampersand Aquabord for your commissions instead of watercolor paper?
There’s a material and process for every type of commission, but I use Aquabord in 90% of the large public-facing work I produce. It’s a tremendous archival substrate for my watercolor, plus it’s durable and versatile. Being able to produce a larger scaled piece of art in watercolor and not having to deal with glass is a great advantage. Many of my clients specify it in their commissions. I’m not sure I could ask for much more than that.
5. You work wet on wet. What do you find are the benefits of this technique?
I guess it goes back to the question about atmosphere. Much of my work starts with big broad strokes. I know what I want, but the result always knocks me out as the paint and water mix eventually creates itself. As I define my work, it becomes less and less wet on wet, and then there’s the magic of lifting color out and getting back to white.
6. Watercolor artist Irving Shapiro is a tremendous inspiration for you. What about his teachings gave you the passion to pursue watercolor?
I had the chance to study with him for two years, and there would be a demo at least once a week. Watching a piece of work come together so rapidly before my eyes was mesmerizing.
The other thing was that he was so approachable and encouraging. He pulled me aside once, saying, “You’re not there yet, but I think you have what it takes to become very good at this medium. Keep it up.” There was no question in my mind that I would pursue watercolor.
My favorite anecdote: I was showing at an art fair on the North Shore of Chicago about 12 years ago. A woman with a stroller walked up and, after a moment, said, “Your work reminds me of my father’s paintings. You might have heard of him. His name was Irving Shapiro.” That goes down as one of my favorite comments on my work still to this day.
7. What has been the most rewarding location to have one of your large-scale commissions installed?
That’s a tough question. Of course, the Parkview piece, “Hope and Healing,” and the Waukesha piece, “Moment of Grace,” and “Season to Season” in Grand Rapids were all very rewarding. But I become so involved with the paintings themselves and the process that I’m pretty much exhausted by the time I’ve completed it, and it goes into an installation. And once it’s finally finished and installed, a strange detachment comes over me. It doesn’t feel like mine anymore. It belongs to the viewer for the most part. I think a couple of my most rewarding experiences were being included in the 2021 Hudson River Valley Art Association Exhibition, where I received the Helen Browne Memorial Award for watercolor with “Conifer,” and my recent show at the Zhou B Art Center in Chicago where I showed “Old Growth New Growth.” Showing with other artists I admire has always been most rewarding and validating.
8. What do you love most about Ampersand Aquabord for your work?
I’m so comfortable with Aquabord that I don’t need to “figure” anything out. I can concentrate on the painting at hand without having to muddle my mind about the next steps or the techniques I’m considering. That frees me up completely with no other thoughts than the painting. And that freedom also allows me to push it a bit farther than I have before. One more thing, Ampersand, the company, I have high regard for how true they are to their brand. It’s a great group of people, not just the products but overall, from the top down.
Artist Bio:
Michael Ireland has participated in the creative process for over forty years, beginning with his studies at the American Academy of Art in Chicago. He soon developed a passion for watercolor that continued throughout his life and career.
Today Michael is a nationally recognized painter, an accomplished creative director, and a graphic designer. Michael’s painting style and technique challenge the scale and format associated with traditional transparent watercolor resulting in works measuring up to over twenty feet in length. This process and approach have led to his artwork being placed in public and private collections nationwide. To see more of Michael’s work, visit his website and Instagram.
