Michael K Owino
Michael Owino has been engaged in designing graphics and music covers as part of his creative development since childhood. From the age of seven he received private lessons in music and drama, learned to play classical guitar, explored acting and taught himself to play the drums. At 15, he became a member of the popular new wave band Ballet Mecanique, where he got his first record deal. The band released three albums and performed all over Scandinavia.
When Michael turned 20, he retired from music to focus on his new role as a father. At the same time, he established a music company that released more than 100 titles with artists from different parts of the world. In the following years, Michael chose to further his education and obtained a bachelor's degree in pedagogy as well as a superstructure as an autism specialist. During this period he worked intensively with autistic people, which became a central part of his professional life.
It wasn't until he was 48 that Michael started writing books. Since then, he has published four novels, with his fifth book scheduled for release in October 2024. His interest in visual arts was really sparked while working on his third novel, where he decided to design the book cover himself. This proved to be a great success, and the covers for both his third and fourth books were exhibited as independent works of art at art exhibitions.
Michael has established partnerships with galleries in Switzerland and Stockholm, where his works are represented. His art has been exhibited globally, including in Dubai, Switzerland, Italy, Germany, Spain and the USA (Miami). He works across different media, including photo collages, paintings and digital art, where he often combines techniques and materials in mixed media works.
In recent years, Michael has also produced a series of videos to accompany his books, which act as creative and visual extensions of his literary works. This adds an extra dimension to his artistic practice. His ability to fuse different art forms highlights his versatility and makes his work unique and recognizable, often presented as mixed media.
Throughout your varied career in music, literature, and visual arts, you have tapped into diverse sources of inspiration. Could you describe how these different creative fields interact within your work, particularly how your musical background influences your visual art and writing?
I have been fortunate to work across multiple artistic disciplines, from music to literature and visual arts, which has given me a deep understanding of structure, form, and rhythm. This cross-disciplinary experience allows me to critically assess my own work, asking myself key questions: Is this too clichéd? Is it original? I often compare the rhythm of a painting to the timing in music—are the tones too long or too short? I believe this background enables me to strike a balance in my visual compositions, allowing them to resonate harmoniously. The intuitive connection between these forms helps me to craft pieces with both depth and cohesion.
Given your transition from a musician to a visual artist and author, how has your creative process evolved over the years? Can you elaborate on the methodologies you've retained, discarded, or transformed across different forms of art?
While I have transitioned through various forms of artistic expression, visual art has always been the foundation of my creative journey. As a child, I began creating images, and at the age of six, I crafted my first art piece, working with tiles and clay—an experience that earned me much praise. Music entered my life later, possibly as a result of mild ADHD, providing a physical outlet that I couldn’t find in the more static forms of visual arts like painting, sculpture, and drawing. Despite my extensive work in music, it was never my primary element. My strengths have always been in the realms of visual language, sculpture, and writing, in that order.
Like many artists, my path has been complex and full of winding roads. I believe I have often been my own worst enemy in this regard, but fortunately, I’ve now reached a place of calm where I can focus fully on producing artworks that are entirely independent of music.
You often employ mixed media in your artworks, combining photo collages, paintings, and digital techniques. What challenges and advantages do you encounter in blending these mediums, and how do they allow you to express your artistic vision more effectively?
Absolutely. I relish the freedom to work across all types of media. There is something deeply fulfilling about having an idea and then being able to draw from a full palette of mediums to bring that idea to life. I am not limited by any particular medium—I blend them as needed to achieve a specific expression. For instance, I have worked with video for the past eight years, though I have not yet exhibited these as standalone art objects. Instead, I use them to support the books I write, either as teasers or even as visual chapters within the narrative.
However, the process of working with a single image is particularly fascinating. The inherent limitations of a solitary image compel you to think creatively, which makes it all the more exciting to have an entire range of materials at my disposal. Whether it's fabric, paint, or digitally manipulated photos, each element serves the overall vision. The same goes for my work with metal sculptures—there are certain constraints, such as scale, that I must consider. But these limitations often fuel my creativity and push the work in new directions.
As technology continues to advance, how do you envision the future of art? Are there specific technologies or innovations you are excited to explore in your future works?
I hold a deep respect for the very concept of art, and I am equally fascinated by ancient techniques as I am by modern technological advancements. However, I believe that not all new technologies are necessarily well-suited to art or literature. A wise person once said, “Not every new invention is a good invention.” This sentiment resonates with me, as it highlights the importance of not adopting the latest technology simply for its novelty.
For example, I do not use AI technology to write my books or create my artworks. Instead, I focus on the craftsmanship inherent in both sculpture and visual art, valuing the precision of human hands. I find great meaning in the manual processes that require skill, patience, and care. While I acknowledge the potential of emerging technologies, my personal interest lies more in the human artistry that continues to define the essence of true creative expression.
With a background in pedagogy and special education, how do you perceive the role of art in society, especially concerning educational and therapeutic contexts? How do you think your work can impact these areas?
My background in pedagogy and many years of work as both a pedagogue and autism specialist have certainly given me a significant advantage in my artistic practice. I have gained deep insights into how real people function and the challenges they face. In recent years, I have worked extensively with individuals suffering from war trauma and severe PTSD. This experience adds a profound layer of depth to my art, one that I believe might be difficult to achieve without direct contact with those affected by such struggles, as well as their families.
I hope that my creative expressions can offer experiences and perhaps even an escape from a harsh reality. My first work with clear educational value is my recent piece for the Van Gogh Tribute, which carries significant historical qualities. Additionally, my books are filled with both contemporary and ancient history, providing a narrative bridge between past and present. Ultimately, I believe that the interplay between people is where the true learning happens through my artistic efforts.
Your journey into visual arts began significantly while designing covers for your novels. How does this integration of literary and visual elements influence the reader's experience, and what do you aim to convey through such a synthesis?
I realized that there needed to be a more direct connection between the book cover and the story itself than what I had achieved with my first three novels. I wanted readers to have a cohesive experience, whether they held the physical book in their hands or read it as an e-book. This idea truly came together with my fourth novel, Stalked. There was no doubt that readers felt they were engaging with a unified concept. My next novel, Why Are You Here, takes this even further, where the cover design and the narrative are fully intertwined, creating a complete and seamless experience.
Your artworks often accompany your literary works, serving as visual narratives. How do you approach the storytelling aspect of your visual art, and what are the challenges of aligning these visual stories with the narratives in your books?
For me, aligning visual art with literary narratives is not particularly challenging. On the contrary, I faced significant difficulties with my earlier books, where the covers somehow felt disconnected from the content. With my last two books, where I developed the entire concept myself, it has been much easier. This is because I was able to simultaneously evolve both the written word and the graphic expression throughout the writing process, ensuring that they consistently complemented each other.
Working closely with autistic individuals has been a significant part of your career. How has this experience influenced your artistic expression and the way you communicate through your art?
My approach to communicating through art remains consistent with how I have always worked, even before I pursued degrees in pedagogy and autism specialization. However, my experience working with autistic individuals and socially disadvantaged groups has enriched my perspective, particularly in how I develop characters in my writing. I am able to discern between neurotypical and neuroatypical individuals, which adds nuance to character development in my books.
For instance, in my recent novel, Stalked, the antagonist is neuroatypical, which introduced a dynamic element to the story. Readers have conveyed that this portrayal made the narrative more relevant and compelling, as it left them with a sense of empathy for the stalker, viewing him also as a victim. This nuanced understanding helps me to create more complex and relatable characters.
Your art is exhibited internationally, from Dubai to Miami. How do you adapt your exhibitions and artworks to resonate across different cultures, and what have you learned from these global interactions?
It is truly a passion of mine to communicate with as many different cultures as possible. My extensive travels around the world have allowed me to study art and craftsmanship from various regions. Through these experiences, I have learned that art is a universal language when the artist strives to communicate broadly and clearly.
What I have found most enlightening about exhibiting internationally is the connection between art and love. At large exhibitions, I have sensed the interaction between curators, sponsors, artists, and, most importantly, the audience. Everyone is interested in having a meaningful and insightful experience. Exhibiting across borders has taught me how closely interconnected we all are.
Looking ahead, after the release of your fifth novel, what are your plans for future projects? Are there new themes or mediums you are particularly eager to explore in your upcoming works?
I have never been busier in my life than I am now. In the near future, I will be participating in group exhibitions, including underground shows in London and a significant presentation in Paris with the Artboxy platform, where I have been selected as Talent 24 at Galerie Agnes Nord. Additionally, I will be exhibiting at Art Expo New York with Art Mudra in April. I have also just signed a major agreement with the Artifact Project in New York, which means I will have numerous exhibitions across the USA over the next year, leading to the creation of a series of new artworks.
Once my fifth book, Why Are You Here, is complete, I will start working on my sixth novel. This means that, in addition to Why Are You Here and Stalked, there are still eight more novels to be written in this series. My schedule is therefore packed for the foreseeable future, with a wealth of projects ahead.