![](\"https:\/\/www.mhmraw.com\/wp-content\/uploads\/2019\/12\/michael-boxing.png\" "\\"michael-boxing\\"")
<\/span><\/div>in michael we trust<\/h1><\/div>The following is inspired by Michael Dowling\u2019s allure of 1990\u2019s iconic flicks, Fight Club<\/em> and Romeo + Juliet<\/em> (specifically, its soundtrack).<\/h3>\nstory \/\/ sasha strelitz
\nphotography \/\/ joe friend<\/p>\n<\/div>
<\/div><\/div><\/div><\/div><\/div>\u201cEverybody\u2019s Free (To Wear Sunscreen),\u201d Baz Luhrmann<\/em><\/strong><\/h4>\nDo one thing every day that scares you<\/em>.<\/p>\nIn fourth grade, he drew Garfield repetitively\u2014400, 500 times\u2014till that chubby, mischievous feline face was so second nature, he could draw it perfectly without looking at the cartoon.<\/p>\n
The race is long, and in the end, it\u2019s only with yourself.<\/em><\/p>\nThese days, it\u2019s all about \u201cchallenging easiness of thought\u201d by purposefully creating problems and making them work.<\/p>\n
If you succeed in doing this, tell me how<\/em>.<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>![](\"https:\/\/www.mhmraw.com\/wp-content\/uploads\/2019\/12\/michaelweb.jpg\" "\\"michaelweb\\"")
<\/span><\/div><\/div><\/div><\/div><\/div><\/div>Sometimes there are oil paints, other times there are railroad ties; sometimes there are chicken skin-covered books hanging on wires, other times there\u2019s gold leaf to create discomfort; sometimes there\u2019s gesso, other times there are feathers moving through ink; sometimes there\u2019s even an electronic stethoscope and an amplifier, but usually, there\u2019s charcoal: charcoal smears in a certain way and its lines don\u2019t erase, so the history of mistakes is maintained. No matter what the medium and regardless of the witty, quippy title, there\u2019s always an implicit request to observe and interact with the art in a way outside<\/em> the construct\/constraints of language.<\/p>\nMichael Dowling has worked in art sales, the wine industry, the fashion industry, and he even sold copiers ever so briefly, but in 2013, emboldened by his previous art school experience in Florence, Italy, he made what he deems an easy transition into the art world. He is one of those rare people who is not exclusively right- or left-brained: from 9a-5p, you can find him in his studio creating, and otherwise, he is at home operating the logistical, mathematical side of his art business. Sometimes, he even teaches drawing\u2014how \u201cdrawing is a function of seeing\u201d\u2014at the Art Students League and the Curtis Center. Aside from managing his bustling art business, he is rebuilding a house he owns, mountain biking, reading sci-fi pulp fiction, and, perhaps most importantly, fathering three kids: Lucie (14), Sylvie (11) and Fergus (6).<\/p>\n<\/div>
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The following is inspired by Michael Dowling\u2019s allure of 1990\u2019s iconic flicks, Fight Club<\/em> and Romeo + Juliet<\/em> (specifically, its soundtrack).<\/h3>\nstory \/\/ sasha strelitz
\nphotography \/\/ joe friend<\/p>\n<\/div>
<\/div><\/div><\/div><\/div><\/div>\u201cEverybody\u2019s Free (To Wear Sunscreen),\u201d Baz Luhrmann<\/em><\/strong><\/h4>\nDo one thing every day that scares you<\/em>.<\/p>\nIn fourth grade, he drew Garfield repetitively\u2014400, 500 times\u2014till that chubby, mischievous feline face was so second nature, he could draw it perfectly without looking at the cartoon.<\/p>\n
The race is long, and in the end, it\u2019s only with yourself.<\/em><\/p>\nThese days, it\u2019s all about \u201cchallenging easiness of thought\u201d by purposefully creating problems and making them work.<\/p>\n
If you succeed in doing this, tell me how<\/em>.<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/span><\/div><\/div><\/div><\/div><\/div><\/div>Sometimes there are oil paints, other times there are railroad ties; sometimes there are chicken skin-covered books hanging on wires, other times there\u2019s gold leaf to create discomfort; sometimes there\u2019s gesso, other times there are feathers moving through ink; sometimes there\u2019s even an electronic stethoscope and an amplifier, but usually, there\u2019s charcoal: charcoal smears in a certain way and its lines don\u2019t erase, so the history of mistakes is maintained. No matter what the medium and regardless of the witty, quippy title, there\u2019s always an implicit request to observe and interact with the art in a way outside<\/em> the construct\/constraints of language.<\/p>\nMichael Dowling has worked in art sales, the wine industry, the fashion industry, and he even sold copiers ever so briefly, but in 2013, emboldened by his previous art school experience in Florence, Italy, he made what he deems an easy transition into the art world. He is one of those rare people who is not exclusively right- or left-brained: from 9a-5p, you can find him in his studio creating, and otherwise, he is at home operating the logistical, mathematical side of his art business. Sometimes, he even teaches drawing\u2014how \u201cdrawing is a function of seeing\u201d\u2014at the Art Students League and the Curtis Center. Aside from managing his bustling art business, he is rebuilding a house he owns, mountain biking, reading sci-fi pulp fiction, and, perhaps most importantly, fathering three kids: Lucie (14), Sylvie (11) and Fergus (6).<\/p>\n<\/div>
<\/div><\/div><\/div><\/div><\/div>
\nphotography \/\/ joe friend<\/p>\n<\/div>
\u201cEverybody\u2019s Free (To Wear Sunscreen),\u201d Baz Luhrmann<\/em><\/strong><\/h4>\nDo one thing every day that scares you<\/em>.<\/p>\nIn fourth grade, he drew Garfield repetitively\u2014400, 500 times\u2014till that chubby, mischievous feline face was so second nature, he could draw it perfectly without looking at the cartoon.<\/p>\n
The race is long, and in the end, it\u2019s only with yourself.<\/em><\/p>\nThese days, it\u2019s all about \u201cchallenging easiness of thought\u201d by purposefully creating problems and making them work.<\/p>\n
If you succeed in doing this, tell me how<\/em>.<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/span><\/div><\/div><\/div><\/div><\/div><\/div>Sometimes there are oil paints, other times there are railroad ties; sometimes there are chicken skin-covered books hanging on wires, other times there\u2019s gold leaf to create discomfort; sometimes there\u2019s gesso, other times there are feathers moving through ink; sometimes there\u2019s even an electronic stethoscope and an amplifier, but usually, there\u2019s charcoal: charcoal smears in a certain way and its lines don\u2019t erase, so the history of mistakes is maintained. No matter what the medium and regardless of the witty, quippy title, there\u2019s always an implicit request to observe and interact with the art in a way outside<\/em> the construct\/constraints of language.<\/p>\nMichael Dowling has worked in art sales, the wine industry, the fashion industry, and he even sold copiers ever so briefly, but in 2013, emboldened by his previous art school experience in Florence, Italy, he made what he deems an easy transition into the art world. He is one of those rare people who is not exclusively right- or left-brained: from 9a-5p, you can find him in his studio creating, and otherwise, he is at home operating the logistical, mathematical side of his art business. Sometimes, he even teaches drawing\u2014how \u201cdrawing is a function of seeing\u201d\u2014at the Art Students League and the Curtis Center. Aside from managing his bustling art business, he is rebuilding a house he owns, mountain biking, reading sci-fi pulp fiction, and, perhaps most importantly, fathering three kids: Lucie (14), Sylvie (11) and Fergus (6).<\/p>\n<\/div>
<\/div><\/div><\/div><\/div><\/div>
In fourth grade, he drew Garfield repetitively\u2014400, 500 times\u2014till that chubby, mischievous feline face was so second nature, he could draw it perfectly without looking at the cartoon.<\/p>\n
The race is long, and in the end, it\u2019s only with yourself.<\/em><\/p>\n These days, it\u2019s all about \u201cchallenging easiness of thought\u201d by purposefully creating problems and making them work.<\/p>\n If you succeed in doing this, tell me how<\/em>.<\/p>\n<\/div> Sometimes there are oil paints, other times there are railroad ties; sometimes there are chicken skin-covered books hanging on wires, other times there\u2019s gold leaf to create discomfort; sometimes there\u2019s gesso, other times there are feathers moving through ink; sometimes there\u2019s even an electronic stethoscope and an amplifier, but usually, there\u2019s charcoal: charcoal smears in a certain way and its lines don\u2019t erase, so the history of mistakes is maintained. No matter what the medium and regardless of the witty, quippy title, there\u2019s always an implicit request to observe and interact with the art in a way outside<\/em> the construct\/constraints of language.<\/p>\n Michael Dowling has worked in art sales, the wine industry, the fashion industry, and he even sold copiers ever so briefly, but in 2013, emboldened by his previous art school experience in Florence, Italy, he made what he deems an easy transition into the art world. He is one of those rare people who is not exclusively right- or left-brained: from 9a-5p, you can find him in his studio creating, and otherwise, he is at home operating the logistical, mathematical side of his art business. Sometimes, he even teaches drawing\u2014how \u201cdrawing is a function of seeing\u201d\u2014at the Art Students League and the Curtis Center. Aside from managing his bustling art business, he is rebuilding a house he owns, mountain biking, reading sci-fi pulp fiction, and, perhaps most importantly, fathering three kids: Lucie (14), Sylvie (11) and Fergus (6).<\/p>\n<\/div><\/span><\/div>