Panorama, Thessaloniki, Greece, 1978.
Lives and works in Mexico City since 2010.

Michael´s recent works include speculative models of shelters and shrines, digital cutout collages and graphite drawings of explicit detail, all produced in an impulsive yet meticulous way, without plans or preconceived ideas. “Ideas do not make the work but rather the work generates ideas.” In his practice the immediacy of the materials and the accumulated knowledge of the unconscious, transcend linguistic and intellectual types of thinking.
Michael is interested in making art that will resonate with nerds and kids as much as it will with the art crowd. Thus he avoids “art that looks like Art”. Instead the works tend to resemble utilitarian objects (architectural models, infographics, etc) that only hint at Modern Art but nevertheless lack specific function and raise questions about their reason for existing. In his own words, “I want to avoid didacticism and instead create a sense of puzzlement that elicits the viewer’s curiosity, raising questions about alternative universes, alternative histories and prehistories.” It is The Exotic and The Distant that intrigue him since he believes that in order to produce critical thinking about the present, one needs to escape its gravitational self-internalizing pull and look from a clear distance.

In many cases the works are weathered or self-vandalized. Pen doodles on graphite seascapes, collages that have been crumbled and subsequently treated with coffee and dust, graffitti on architectonic models, sculptures made of scraps of previous sculptures. Michael indulges in being the creator and the destroyer of his own works but primarily this process reveals his dialectic method, in which (self) doubt is the drive behind creativity. No work is complete if it hasn´t been argued against multiple times. This procedure yields brand-new works that curiously look “old”. What Michael suggests is that ruination far from being some distant future possibility, is a permanent ever present backdrop against which civilizations mistakenly think they are progressing. Hence, the assumption of Evolution as a force for progress, is constantly probed.



MA Fine Art, Wimbledon College Of Art

Degree in Fine Art, Utrecht School of the Arts

Degree in Fine Art, Aristotle University

Solo Exhibitions

The Opposite Of The Opposite, Steve Turner Contemporary, Los Angeles, USA.
Reptile Dialectics, Galería OMR, Mexico City.

I Didn’t Think Of Anything I Don’t Know What To Do, Preteen Gallery, Mexico City, Mexico.

Scholars In Space, Galería OMR, Mexico City, Mexico.

Smoke From The Edge Of The Known, AMP, Athens, Greece.

Theo Michael, Steven Makris Gallery, Athens, Greece.

Group Exhibitions

Todo Objeto É Um Enigma, Curated by Sofia Borges, Galeria Millan, Sao Paulo, Brasil.

Deliros de declive (Delusions of Decay), Curro & Poncho, Zapopan, Jalisco, Mexico.
Plat (t) form, Fotomuseum Winterthur, Winterthur, Zurich, Switzerland.
Stalactica, Quincaillerie Vander Eycken, City of Brussels, Belgium.
Vernacular Alchemists, CAC-Passerelle, Brest, France.

Reprise, Casa Maaud, Mexico City, Mexico. Curated by Mathieu Copeland.
The Eternal Internet Brotherhood, Mexico 2013, Xilitla, San Luis Potosi, Mexico.
ReMap 4, ReMap KM, Athens, Greece.
1:1, Steve Turner Contemporary, Los Angeles, CA, USA.

So Confused LOL, Preteen Gallery in Beo Project, Belgrade, Serbia.
American Meat Locker, Land of Tomorrow, Louisville, KY, USA.
The Possessed, HLM, Marseille, France.
BYOB Düsseldorf, NRW-Forum, Düsseldorf, Germany.

The Space Between Now And Then, Galería OMR, Mexico City, Mexico.
Music For Insomniacs, Proyectos Monclova, Mexico City, Mexico.
Stranger In A Strange Land, Remap, Athens, Greece.
BYOB Mexico City, Mexico, Ex-Teresa Arte Actual, Mexico City, Mexico.
BYOB London, UK, The Woodmill, London, UK.

First Biennal Of The End: Collapse, el 52, Mexico City, Mexico.
BYOB Athens, Greece, Kunsthalle Athena, Athens, Greece.
DRAW, Museo de la Ciudad de Mexico, Mexico City, Mexico.
The Destroyed Room, Galerie Im Regierungsviertel, Berlin, Germany.

Remap 2, Athens, Greece. 2009, curated by Marina Fokidis, Torino, Italy.

Apartment, curated by Brian Chalkley and Lewis Amar, London, UK.
MI2, Art Athina, curated by K.Dagritzikos Athens, Greece.

Synch Festival, Athens, Greece.
Part Time Punks, Deste Foundation, Athens, Greece.
Republic, L’ESTLondon, London, UK.

We’ve lost the hearts and minds, Event Network, London, UK.
OneDotZero, Athens, Greece.

Bangkok Experimental Film Festival, Bangkok, Thailand.

Agora, Transition Gallery, London, UK.
60 Seconds, Darklight Film Festival, Dublin, Ireland.
FleaMarket, TemporaryContemporary, London, UK.

Young Gods, ClaphamArtGallery, London, UK.


Personal-Political, 2nd Thessaloniki Biennale, Athens, Greece.

Public Screen, 1st Thessaloniki Biennale, Athens, Greece.

/ Press

Entrevista con Theo Michael, TimeOut Mexico, 2014.
1984, The Drawer Vol.6, 2014

“Tales From A Balkan VJ”, Incite Journal of Experimental media
“I’m Working On A Title, Will Send It Later”, Código

“Paracronismos Y Procronismos”, La Tempestad
“International Drawing Annual 6”, Manifest Press
“Pathology Of Ruins”, Caviar Izquierda, issue no4

“DRAW”, Museo de la Ciudad de Mexico
“Theo Michael”, Celeste, March 2010 issue
Flash Art review, Jan-Feb issue

“Video.It 2009″, Artegiovane, 2009
”Proud To Be Flesh”, Autonomedia,
“Exhuming The Human”, MUTE magazine

“The New Prophecy”, Dynasty Zine

“Public Screen” Catalog, Contemporary Art Centre of Thessaloniki
“Part Time Punks”, Deste Foundation
“Stash no35”,

“onedotzero_film_challenge_2006”, British Council

“Ellinomouseion”, 6 Centuries of Greek Painting, Manos Stefanidis