
Bold, graphic style, a vibrant colour palette and focus on everyday objects — these features aptly describe the work of celebrated conceptual artist and painter Michael Craig-Martin. Renowned for his vibrant depictions of everyday objects and influence on contemporary British art, his minimalist works challenge perception and meaning. His art explores themes of representation and the relationship between objects and meaning. We caught up with Michael — following a panel discussion at the Museum of Art & Photography (MAP) with Abhishek Poddar — to talk about his works, what shaped his style and the usage of bold colours in his craft.
Your work focuses on a lot of everyday objects. How do you decide what you want to make the subject of your work?
My basic idea is to draw everything I can, but I only draw things that I think 99 percent of people would recognise immediately and be able to recognise. I don’t want someone to look at my work and wonder what it is. Instead, I want the object to be so familiar that they instantly know what it is. This way, they’re focused on how I’ve represented it rather than trying to identify it.
You have a background in conceptual art. How did that shape your style?
My work is rooted in my youth and early career from the 1960s and ’70s, which were deeply influenced by philosophical ideas about art. I was intrigued by fundamental questions like: What makes something art? What is the essence of art? These questions shaped my conceptual approach. While these aren’t questions many artists ask today, they remain the foundation of my exploration. Additionally, pop art had a significant influence on me, particularly its accessibility. Unlike abstract expressionism, which can be intimidating, pop art’s use of familiar imagery allows people to engage immediately. This accessibility is something I’ve carried into my own work.
Can you walk us through your process of choosing the objects you feature in your artwork?
I’m always searching for something new. My ideal scenario would be discovering a new object to draw every day. Sometimes, an area of interest opens up, like musical instruments. For instance, after drawing a guitar, I decided to explore related objects and ended up drawing an electric guitar, a bass guitar, different kinds of drums, a saxophone, a trumpet and more. Each object led to another, creating a whole world to explore. Chairs are another example; they’re ubiquitous, yet endlessly varied in materials and forms. Despite their diversity, they’re always recognisable, which makes them fascinating subjects.
You use a lot of bold colours in your work. How do you approach colour combinations?
I use colour the same way I use objects — it has to be familiar and nameable. My palette is simple: red, yellow, blue and other basic colours. I avoid variations like greyish tones or bluish shades. These are the colours found in every paint box, accessible to everyone from children to artists. I don’t mix colours or create new shades; I want them to be intense, familiar and identifiable.
Over the years, your work has transitioned from conceptual installations to large-scale public projects. What prompted this change?
I’ve always been interested in architecture and public works. Most two-dimensional imagery in public spaces today is advertising and I aim to reclaim some of that territory for art. While public sculptures remain common, two-dimensional public art has largely been overshadowed by commercial purposes. Working on a large scale often requires collaboration with architects, as the largest artworks are still small compared to the smallest buildings. This intersection of architecture and art has always fascinated me.
How has the advancement of technology, particularly digital tools, influenced your work?
I’ve always been interested in contemporary tools. I started using a computer to assist with drawing and planning. My process involves creating multiple studies for a single painting, sometimes 20 or more, to explore possibilities before deciding on the final version. The computer allows me to save each variation, revisit ideas and refine my work efficiently. Similarly, digital technologies, like immersive tools, are simply new instruments to explore creativity. I believe it’s important to use every tool available in the modern world.
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