Michal Sagar

Which year did you graduate and what brought you to MCAD for your MFA? Could you speak a little bit about your background?

I graduated from MCAD in 1996. After 21 years in San Francisco, my husband and I were looking for a more affordable place to live, a city that had good public schools for our teenage daughter, and a vibrant art community. Minneapolis came to the top of the list. A friend of mine told me that MCAD had just opened up an MFA program, so I decided to apply.

How did your art change while you were at MCAD?

At MCAD I was exposed to many new processes and my painting became more multilayered in terms of color, mark-making, and use of materials.

How has your work evolved since your time at MCAD?

My work continues to surprise me. I set off to go in a particular direction but often find that something else calls to me and I become involved in ways that I had not expected. With that, I have embarked on many new paths.

What is next? Any new projects or jobs that are in the pipeline?

October 2022 I have a solo show opening at Form + Content Gallery in Minneapolis. The work will include drawing, painting, painted hanging scrolls, and clay sculptures.

You donated to support our MFA 2020 Fund, which benefits future Black, Indigenous, and People of Color MFA students – thank you! What motivated you to contribute to this scholarship effort?

After MCAD I was fortunate to find a fulfilling teaching job in the arts. Without the MFA I wouldn’t have been interviewed for the position, which changed the circumstances of my life in meaningful ways. Giving back, even a little, makes such a difference. This fund helps MCAD become a more inclusive community and this is so important!

Artist Statement

In this series, I draw together remnants of history – artistic, social, personal – edging towards a new vision of untamed wildness.

These works on paper began by drawing directly from fragments of ancient European sculptures. Intrigued by the dynamic energy still residing in the damaged pieces of stone, I saw in their broken beauty not only the history of what they once were but also a resonant potential.

As I worked on my initial drawings a surprising element emerged — that of an African wild dog. I viewed these two potentially antagonistic forces — the remnants of a Classical European figure and an endangered African painted dog — as players in a struggle seeking a new balance. Responding to the nature in each, I imbued both forms with a sentient quality.