Micheal Kin (b. 1956) is a visionary sculptor, artist, builder, and business owner. Originally born in upstate New York and raised in Pennsylvania, Syracuse has been his home and working studio since the early 1980s.

His creative evolution began quite literally, on the road. Like many adventurous youth born of a Beat Generation, Micheal criss-crossed the country hitchhiking in the 1970’s. To earn money, he created and sold artwork along the way using a variety of natural and found materials. These early mixed media assemblages laid the groundwork for future artistic expression.

In his mid 20’s, Micheal decided it was time to plant roots. He returned to New York, purchased land, and began dreaming big. Coupled with a lifelong love of architecture, he set about conceptualizing and designing his home and studio using alternative building materials; an early pioneer in the renewable and sustainable construction industry. To date, his most ambitious project is the passive solar home, built out of tires, bags of earth, and straw bales, along with locally sourced timber, and over 85 tons of adobe mud. It is both earthen and elegant. 

Micheal’s earliest sculptural works were symbolically painted pieces incorporated raw and manipulated wood elements, sometimes intertwined, other times in stark contrast to each other. And as his breadth of knowledge expanded, so did his work. The next generation of sculptures felt organic, fluid, and included the addition of metals for both support and ornamental inlay. Beautiful, yet functional pieces of art, that can stand alone in a room and also be used as a kind of eclectic furniture. It was within this exploration of function inside of form that his current work derives.

The Infatuation Series advances Micheal’s artisanal work to one of inspired luxury. Roused by a book of Georgia O'Keeffe’s paintings, he began to envision the intimacy, complexity, and simplicity of falling in love, represented by the female form delicately laid bare over larger than life flowers. Beauty upon beauty. Each sculpture inside of the series becomes a collaboration between the art and aesthete; fully realized when it is experienced by physical interaction with or on the piece of art. The flowers evoke a whisper revealed, the subtlety of truth behind the veil of what is initially perceived, as one inquires, “When was the last time you partied on your Picasso?”

Micheal is currently seeking representation