Work by Michael Eugene Burdick. Image courtesy of the artist.

Rosie Sharp: Can you give me some bio info and background on your development as an artist? Are you self-trained, or did you study somewhere? Were you always a painter, or have you worked in other kinds of media?

Michael Burdick: Drawing was always an outlet of escapism for me growing-up and I was fortunate to grow up in an environment that nurtured that habit. I just wanted to draw cartoons and had incredibly supportive parents and a wonderful high school teacher who encouraged me to work toward a private art college instead of a university. I got a couple decent scholarships and had some great professors at the College for Creative Studies in Detroit that then taught me how to paint and introduced me to Adobe computer programs. I got some good gigs working as a designer for a shoe company and then as an art director for an advertising firm, but I always created graphics and drawings for friends on the side.

Work by Michael Eugene Burdick. Image courtesy of the artist

RS: What sort of relationship do you have with Detroit? Did you grow up here, and if not what brought you to the city? I noticed a piece in particular at the Red Bull House of Art had to do with available parking Downtown–would you say that Detroit is often a source of inspiration for your work?

MB: I grew-up in a middle class suburb of Detroit and started going downtown as a teenager with a group of older friends who would take me to bars and venues to see bands play. They showed a different perspective of the city than what my school peers shared, and they helped shape my ideals and opinions, so I moved to the Cass Corridor shortly after finishing high school. This environment and its experiences have definitely influenced and inspired my works. When there are frustrations or things going on that are unjust or just stupid, it’s cathartic and victorious to create something that exposes it. Parking lots are certainly not the most important issue that Detroit citizens are confronted with, but it definitely is something that physically affects the city’s landscape.

Burdick (center) at the Red Bull HOA Winter 2013 opening.

One of Burdick’s pieces from the 2013 RBHOA collection.

RS: Speaking of Red Bull, what was that experience like for you? I know we’ve conversed a little bit about the commercial side of art, in terms of the work you’ve done in advertising. I wonder if you found that residency to be nurturing of a creative process or more commodity-based?

MB: I don’t think that I was very good at advertising, as the work desired from clients was generally recycling elements of ideas that had been “successful” before. I daily felt ashamed because most of my energy was spent up the evening before working on personal projects and small projects for friends that I found very fulfilling. I was very grateful for the experience at Red Bull and to have gotten to paint again, as most of the work I’ve done the last few years has finished digitally.

Work by Michael Eugene Burdick. Image courtesy of the artist

Work by Michael Eugene Burdick. Image courtesy of the artist

Thanks to Burdick for a little insight into his background and process. You can check him out and keep tabs on his upcoming projects in the works here: www.michaeleburdick.com.