Some artists arrive by invitation. Michael Doochin arrived by listening.
A Harvard MBA. A successful business career. An archive of Smithsonian-collected photography. None of it pointed directly toward the life of a painter. But something in him did, a pull not toward reinvention, but toward revelation.
His journey is one of return. To presence. To truth. To the act of seeing with more than the eyes.
Michael Doochin paints because something within him calls him to. Not for performance. Not for commerce. But because art, for him, is alignment. His works are quiet meditations on labor, on color, on silence, on spirit.
Photo of Michael Doochin
Born into a world that rewarded structure and logic, Doochin did not grow up immersed increativity. He trained in medicine, then shifted into business, excelling in leadership and systems thinking. It was only years later, while traveling with his wife through New Zealand, that a single painting opened the door. “It wasn’t about the subject. It was the feeling. The way it made me stop,” he recalls.
That moment did not spark a pivot. It awakened a purpose.
He began painting slowly. Privately. Learning how color moved, how light unfolded across canvas. Over time, the brush replaced the camera. But the photographer’s eye never left.
His early photographic work, taken during his travels across more than seventy countries, focused on tribal life, sacred rituals, and the sublime beauty of everyday work. These images, now held in the Smithsonian, are not documentation. They are visual prayers. That same sensibility now lives in oil.
Doochin paints what he knows. His realist works show laborers mid-motion, fields alive with human rhythm, marketplaces in harmony and tension. Each subject is someone he met. Each moment, something he lived.
But his gift is not replication. It is resonance.
In Threshing the Millet, two West African women work in tandem, their bodies synchronized not just by necessity, but by something sacred. “They were singing,” he recalls. “Working in rhythm with the land. That kind of presence, that’s what I want to offer.”
Threshing the Millet (Size: 30 x 40 inches) by Michael Doochin
His abstract pieces, which he calls “concretes”, are no less grounded. Born from color and energy, they unfold over time, guided by intuition, spiritual insight, and a painter’s discipline.
The phrase, “My job is to listen,” defines how Doochin creates.
As a Certified Healing Touch Practitioner, he approaches color as vibration. Each tone has a role. Each canvas, an energy field. His studies in Kabbalah and subtle energy systems inform his approach. But nothing is theoretical. Everything is felt.
“Sometimes a painting is not for me,” he says. “It is for someone who will see it and remember something they had forgotten.”
And this is what makes his work so unique. It is not built for galleries alone. It is built for soul contact.
Collectors often speak of his work as healing. As calming. As quietly arresting. The pieces do not announce themselves. They invite. They leave space.
In Genesis, for instance, tension and imbalance gave way to final unity with a single brushstroke. The painting resolved itself. “It knew what it needed,” he says. “My job was to listen.”
Genesis (Size: 46 x 70 inches) by Michael Doochin
Michael Doochin’s legacy is not one of volume. It is of presence. Each painting carries the weight of lived experience, of spiritual alignment, of careful listening. It is no surprise that he does not paint quickly. He waits until the work speaks.
He has no interest in repetition. No desire to ride trends. Each piece is singular. Necessary. An artifact of process and prayer.
And yet, there is something undeniably current about his work. In a time of visual noise, his paintings offer a return to stillness. In a culture of disconnection, his subjects model belonging to the land, to ritual, to each other.
He paints as a mystic builds, with reverence for what lies behind the form.
Whether standing before a bustling fish market scene in Sicily, a layered field of abstract blues, or a figure bowed in harvest, the viewer feels the same quiet invitation. Stop. See. Remember.
We are still here. The world is still sacred.
And in the hands of Michael Doochin, art is how we find our way back to that knowing.
When Burton Silverman Paints Michael Doochin
Michael Doochin (left) and Burton Silverman
Burton Silverman, one of the greats in portraiture, really captures something special in his painting of Michael Doochin. It is not just about how he looks. It is about who he is and how much he is starting to shape the art scene. You can feel the respect between them and see how Doochin’s voice is starting to make waves in today’s creative world.
Explore the breadth of Michael Doochin’s artistry through his online gallery, showcasing a thoughtfully assembled collection of his paintings. His written works, including The Tzaddik and The Mystical Naturalist, combine poetic storytelling with deep spiritual insight. Additionally, his evocative photography, capturing scenes from over 70 countries, is preserved in the Smithsonian’s digital archives.
A professional writer with over a decade of incessant writing skills. Her topics of interest and expertise range from health, nutrition and psychology.
