Michael Workman is a master landscape painter known as a “contemporary traditionalist”, who embraces the ambiguity between realism and abstract form, and is regarded by the Dictionary of Utah Art as “one of the major American Contemporary Tonalist painters.” His paintings possess a profound poetic element that appeals to connoisseurs, artists, and those without artistic education alike.

Raised on a small farm in Highland, Utah, he attended Brigham Young University where he earned a Bachelors and Master of Fine Arts degrees. Reminiscent of Baroque era artists who gained experience first  as draftspersons, Michael worked as an Architectural Illustrator for Kinateder Inc until returning to school to pursue his master’s degree. Michael sometimes remarks about the emphasis on contemporary art during his time in graduate school and on how much of the genre focused on the negative. He realized this emphasis wouldn’t require much courage on his part because staying positive doesn’t come naturally to him. He wanted his work to pose a challenge and to be aligned with what art meant to him personally. “I look for things that are beautiful without being overly syrupy or sweet [and] I see beauty everywhere I look."

Michael lives in the historic town of Spring City where he and his wife, Laurel, raised their children and are now grandma and grandpa to eight young grandchildren. Although Michael has done pieces from all over the world, the Sanpete valley and its environs have always been a key inspiration for his work.

He has taught workshops in North America and Europe. He is passionate about helping others learn and develop their own style and talents. He has participated in various prestigious exhibitions throughout his career including the Artists of America shows in Denver, Northwest Rendezvous in Park City, the Western Classics Show in Scottsdale, and As They See It Show at Salt Lake City’s Art Center.

Michael, who is seriously looking at modernism for the first time in his painting career, is currently exploring painterly realism with an intentional play back between realism and abstraction. He is always evaluating his own work. In his words, “I look at my work and wonder if I measure up to the great artists that I respect. So I keep pushing myself to be better. I had a professor who once said, ‘To imitate is bad, even if you’re imitating yourself.’”