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John Michael Byrd holds an MFA in Studio Arts from the University of Massachusetts - Amherst and is also an alumnus of Louisiana State University, with a BFA in Painting and Drawing. He is primarily a painter, but has also worked in drawing, collage, objects, performance and printmaking. John Michael’s work has been featured in numerous regional and national exhibitions, and he has mounted almost a dozen solo exhibitions in Louisiana, Oregon, Massachusetts and New York. Also, he has been awarded several grants and scholarships, including the J. Kenneth Edmiston Memorial Scholarship and the Carl M. Thorp Memorial Art Scholarship. His work can be seen in the pages of: The Oxford American Magazine, Studio Visit Magazine, Hyperallergic, The Sewers of Paris, Painters on Painting, Kolaj Magazine, The Tulane Review, The Manifest Annual, WordSmiths Literary Review, DIALOGIST, Starry Night Programs Artists To Look Out For, Fresh Paint Magazine, CountryRoads Magazine, Together Underground, 21st Century Queer Artists Identify Themselves, Art Business News, 225 Magazine, The J.O.S.H., The Ivory Tower Magazine and The Advocate. John Michael Byrd’s work is focused on absurdity and the uncanny, in an attempt to resolve the gap between the artificial and the real, juxtaposing appropriated imagery in various media. John Michael works as an Academic Advisor at SVA and is constantly painting, writing and reading Tarot cards in his spare time.
Published on February 21st 2021. Artist responses collected in months previous.
What hurdles have you overcome this year and how have they affected your art practice?
Some would say the studio, in general, is nothing but a series of hurdles. But, I think about it more as a series of black holes that suck you in, shake you all about and deposit you in a new place. Maybe the hurdle can be the goal, a moment of recalibration and not simply an energy-vacuum that hinders forward progress.
How has your art practice been affected by the pandemic?
Like many artists, I had several exhibitions either fall through or be postponed; one space I was in talks with closed its doors permanently. Having many artists as friends and colleagues, we can’t help but be affected by the prevailing atmosphere of paranoia, academic and monetary uncertainty. For me, it’s a time to think: what does it take to thrive; what did that look like in the past; what will it look like going forward?
What support systems have you put in place to help keep your practice thriving amidst these unforeseeable circumstances?
Luckily, my studio is in my home, and telecommuting has allowed me to spend more physical time with my paintings. I steal moments throughout the day to work, leaning into parts of my practice that I put off like organizing files, etc . . . anything that keeps my mind fresh and at ease. I’ve also had a ton of wonderfully interesting and productive studio visits over Skype/Zoom.
What methods do you employ to stay resilient in your art practice? What tips would you recommend to other artists who find staying resilient difficult?
I meditate. I try to be present. I try to not get bogged down wondering what comes next; stay in the moment. Resilience is learned by doing — Just breathe.
What have you learned about yourself as an artist this year?
My sense of humor and my (few) confidants are everything; helping others makes me feel whole and purposeful; keeping my hands moving saves my sanity.
What hurdles have you overcome this year and how have they affected your art practice?
Some would say the studio, in general, is nothing but a series of hurdles. But, I think about it more as a series of black holes that suck you in, shake you all about and deposit you in a new place. Maybe the hurdle can be the goal, a moment of recalibration and not simply an energy-vacuum that hinders forward progress.
How has your art practice been affected by the pandemic?
Like many artists, I had several exhibitions either fall through or be postponed; one space I was in talks with closed its doors permanently. Having many artists as friends and colleagues, we can’t help but be affected by the prevailing atmosphere of paranoia, academic and monetary uncertainty. For me, it’s a time to think: what does it take to thrive; what did that look like in the past; what will it look like going forward?
What support systems have you put in place to help keep your practice thriving amidst these unforeseeable circumstances?
Luckily, my studio is in my home, and telecommuting has allowed me to spend more physical time with my paintings. I steal moments throughout the day to work, leaning into parts of my practice that I put off like organizing files, etc . . . anything that keeps my mind fresh and at ease. I’ve also had a ton of wonderfully interesting and productive studio visits over Skype/Zoom.
What methods do you employ to stay resilient in your art practice? What tips would you recommend to other artists who find staying resilient difficult?
I meditate. I try to be present. I try to not get bogged down wondering what comes next; stay in the moment. Resilience is learned by doing — Just breathe.
What have you learned about yourself as an artist this year?
My sense of humor and my (few) confidants are everything; helping others makes me feel whole and purposeful; keeping my hands moving saves my sanity.
Find John-Michael Byrd on Instagram
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