MICHAEL CHARRON CONCEPTUAL REALIST
Throughout the last twenty years Michael Charron has spent well over twelve thousand hours, alone, deep in Colorado's wilderness backcountry. It is there that he very intentionally works on his spiritual condition by reading the works of contemporary mystics as well as the bible. Other practices that he concentrates on during these sojourns are drawing, painting, journaling and engaging in contemplative states. Charron will spend as many as five weeks annually in the wilderness.
Seeking has been a life long interest for Charron and the solitude of the wilderness is where that interest is best served. Charron uses four llamas to access areas that few see. It is in the wilderness that the crushing demands of contemporary living are not an interruption. After a number of days has passed his senses, unmolested by electromagnetic radiation, open to the reception of a
Spirit, Gabriel, Norman and Scooter in the Eagles Nest Wilderness
higher vibration or what some contemporary mystics refer to as daily magic. During these wilderness journeys Charron experiences, empirically, countless demonstrations attributable to Divinity.
Charron considers himself a practical mystic. That assignment seems quite lofty, however, when each of those terms, "practical" and "mystic" are considered separately, "practical mystic" has less impact than "auto mechanic" or "marriage counselor". The "practical" piece is the act of creating art and the "mystic" piece is illustrated by his interest in spirituality beyond the intellect. Some of Charron's work is undeniably existential in its expression, examples include his ouroboros and Catacomb Saint subjects while his landscapes conceal what he refers to as "optical communions" or "visual prayers". Charron's painting process includes the development of a visual and written narrative relative to spiritual exploration which is ultimately painted over by a traditionally approached landscape subject. The images below show an example of the approach, the illustration on the left is an optical communion and the one on the right is the landscape painting concealing the optical communion.