Ryan Michael

Art and Photography

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Art & Practice

Portraiture as witness

Every portrait begins with an encounter. A face observed, a moment of recognition across culture, distance, and circumstance. Ryan Michael's practice is built on the belief that to paint someone is to insist on their visibility — that careful attention paid to a subject is itself an act of respect. From the streets of Mumbai to the townships of South Africa, from the red dunes of Namibia to the shores of Mauritius, the work asks a simple question: who are we, and who are we to one another?

"Art does not need gilded frames or visual extravagance to have impact. The human presence within each portrait is the focus."

— Ryan Michael

Coming 2027 — National Tour

Inequality —
Who Is Looking Out For
The Marginalised?

The exhibition will be touring Brisbane, Sydney and Melbourne in 2027

Learn More
Ryan Michael

Ryan Michael

I am an Australian portrait painter working within a realist tradition, focused on cultural identity, history, and place. My practice centres on portraiture as a means of representing underrepresented communities both locally and globally. Through careful observation and detail, I explore themes of race, politics, belonging, and lived experience across diverse social and geographic contexts.

I completed a Master's in Applied Design and Art at Curtin University, with a focus on photojournalism. My research thesis examined the conflict in Myanmar, grounding my practice in documentary observation and narrative image-making. I later undertook a degree in Education with a major in Visual Art. While my academic training established a strong foundation in visual communication and teaching, my photographic practice was shaped through apprenticeship with renowned French-Senegalese photographer and artist Mr. Bamba Surang, undertaken in Mauritius.

My early work in street photography developed from this foundation and has since evolved into a sustained focus on painted portraiture, built through independent study, observation, and long-term commitment to realist practice. Having lived and worked across Africa, Asia, Europe, and the Americas, my practice has been shaped by direct engagement with a wide range of communities and contexts.

Across these experiences, I have observed recurring threads of inequality and resilience that transcend geography, particularly in relation to visibility and representation. My experience as an immigrant in Australia has also shaped my understanding of identity and belonging, creating a more layered awareness of what it means to be "Australian" both within Australia and in an international context.

Rather than idealising or simplifying, I aim to present subjects with clarity and honesty, inviting viewers into a direct and human exchange. At the core of my practice is a belief that portraiture can expand how we see one another — contributing to a more inclusive representation of contemporary Australia and beyond, and encouraging reflection on identity, belonging, and shared human experience.

Reels

Short works in motion — process, place, and practice.

Indian Freedom

Lewis Hamilton

Barack Obama

Abstract Cityscape

Indigenous Lady

Gandhi

Anthony Bourdain — Train

Actor Orange

Contemporary Lady Portrait

Lady Panther

Finding Our Way Home

Ady Fidelin — Paris

Nelson Mandela

Photography

A selection of work from across the world.

South Africa holds contradictions in plain sight — extraordinary beauty and deep inequality occupying the same frame. These images were made across its cities, coastlines, and communities: places where history is still being negotiated, where resilience is worn on the surface, and where the light at the end of the day turns everything golden.

South Africa South Africa South Africa South Africa South Africa South Africa South Africa South Africa South Africa South Africa South Africa South Africa South Africa South Africa South Africa South Africa South Africa South Africa South Africa South Africa

Namibia is silence made visible. The oldest desert on earth, dunes that shift colour through the hours, a coastline where the cold Atlantic meets the Namib sand. These photographs were made in the vast, unhurried spaces between settlements — searching for scale, stillness, and the peculiar dignity of a landscape that asks nothing of you.

Namibia Namibia Namibia Namibia Namibia Namibia Namibia Namibia Namibia Namibia Namibia Namibia Namibia Namibia Namibia Namibia Namibia Namibia Namibia Namibia

Mauritius is where my photographic practice was formally shaped — under the mentorship of photographer Bamba Sourang, working exclusively in natural light. The island's quality of light is particular: warm, diffused through humidity, rich at the edges of the day. These images carry that learning — an attention to the moment where light, water, and the human presence align.

Mauritius Mauritius Mauritius Mauritius Mauritius Mauritius Mauritius Mauritius Mauritius Mauritius Mauritius Mauritius Mauritius Mauritius Mauritius Mauritius Mauritius Mauritius Mauritius Mauritius Giant Lilly Pads of Mauritius Bird walking across Giant Lilly Pads

India is part of my heritage — and photographing it is inseparable from that complexity. A country of staggering contrast: ancient and modern, sacred and chaotic, devastating inequality existing alongside extraordinary beauty and warmth. These photographs were made with the awareness that I am both an insider and an outsider, and that tension is present in every frame.

India India India India India India India India India India India India India India India India India India India India

Myanmar formed the basis of my Master's research thesis at Curtin University, where I examined the conflict through a documentary photojournalism lens. These images reflect a country of profound beauty, deep cultural identity, and extraordinary resilience in the face of ongoing political upheaval and human suffering.

Myanmar Myanmar Myanmar Myanmar Myanmar Myanmar Myanmar Myanmar Myanmar Myanmar Myanmar Myanmar Myanmar Myanmar Myanmar Myanmar Myanmar

Inequality Exhibition

A collection of original paintings exploring themes of social and economic inequality.

This body of work began with a simple question: Who is looking out for the marginalised members of our society?

My interest in inequality began by looking at the growing divide between wealth and opportunity globally. The more I investigated, the more I realised that this was not simply an issue affecting poorer nations or something happening elsewhere in the world. Inequality exists within some of the world's wealthiest and most developed societies, including Australia, and within India, the world's most populous country and largest democracy.

For this series, I chose to focus exclusively on Indian subjects. This was a deliberate and deeply personal decision. India is part of my heritage, and I wanted to examine inequality through a culture and history that I have a personal connection to. At the same time, the series has made me reflect on my own circumstances. I often think about the privilege I have inherited simply because my parents made the decision to immigrate to Australia. Their decision fundamentally changed the opportunities available to me and my family.

The scale of global inequality is difficult to ignore. Globally, the wealthiest 10% own around 75% of the world's wealth, while the bottom 50% own just 2%. The top 1% alone owns around one-third of global wealth. In India, the top 1% holds approximately 40% of the country's wealth, while the bottom 50% holds just 6.4%. In Australia, the top 1% holds approximately 23% of the nation's wealth, while the bottom half holds less than 5%.

These figures became the starting point for this exhibition, but the paintings are ultimately about people rather than statistics. By focusing on Indian faces, I am not attempting to represent all of India, nor suggest that inequality is uniquely Indian. Instead, India becomes the lens through which I explore a much larger human issue — how wealth, opportunity, circumstance and the decisions made before we are born can profoundly shape the lives we are given.

The Marginalised is an exhibition of original paintings — each work hand-painted in oils on canvas or board. It is not a photographic exhibition.

The visual language of this series represents a significant departure from my earlier work. My practice has often embraced bright, vibrant colour and a postmodernist sensibility. However, as I began developing this series, I felt that the subject demanded something more restrained.

After the first sketches, I gradually moved towards a pared-back aesthetic and predominantly monochromatic palette. I wanted to remove visual excess and allow the subject to carry the weight of the work. In a sense, this became part of the message itself: art does not need gilded frames, excessive decoration or visual extravagance to have impact.

I wanted these paintings to feel approachable. They are intended to draw the viewer in rather than overwhelm them, creating enough visual space to pause, consider and question. The simplicity of the palette allows the human presence within each portrait to become the focus.

This exhibition is not intended as an accusation or a condemnation of wealth. It is an invitation to consider what we do with the extraordinary circumstances of our own lives.

I consider myself incredibly fortunate to have been given the opportunities that came from my family's decision to immigrate to Australia. That privilege has also made me question how many people never receive the same opportunities — not because of a lack of ability or ambition, but because of the circumstances into which they are born.

Australia is an extraordinarily fortunate country. Many of us have access to security, education, healthcare, opportunity and freedoms that millions of people around the world can only dream of. My hope is that recognising this privilege can encourage a greater sense of responsibility — not guilt, but empathy, gratitude and action.

Through these portraits, I want to give visibility to people and communities who are too often overlooked. I want the viewer to look beyond the economic statistics and see the individual.

Ultimately, this exhibition asks us to consider a simple idea: If we are fortunate enough to have more, what responsibility do we have to those who have less? For me, art can be part of that conversation. It can make people stop, look, think — and perhaps see someone else's experience a little differently.

Original oil paintings from the Inequality Exhibition series. All works are hand-painted in oils on canvas or board.

Inequality Series 1 — Ryan Michael
Where I Lay my Head 2026 – Inequality Series · Ryan Michael

Across the developing world, homelessness is a visible reality, particularly in rapidly growing cities. Rural workers arrive seeking opportunity, only to confront the high cost of urban life and the lack of affordable housing and support.

This man may consider himself fortunate to have found a park bench to sleep on, rather than the concrete pavement.

His story raises difficult questions: What happens when opportunity cannot keep pace with population growth? What infrastructure and investment are needed to prevent people from falling through the cracks? Education, employment and affordable housing are fundamental to creating more equitable communities — challenges shared by countries such as India and Australia.

At what point does a society decide that no one should be left without a place to call home?

Inequality Series 2 — Ryan Michael
Pooja – An Act of Worship 2026 – Inequality Series · Ryan Michael

Faith has long been an important part of Indian culture, with many religious traditions and communities existing alongside one another. India's diversity is one of its defining characteristics, yet tensions between religious groups in recent years have raised concerns about the marginalisation and unequal treatment experienced by some minority communities.

In this painting, a woman offers her prayers to the Hindu gods in the sacred waters of the Ganga (Ganges). Her quiet moment of devotion represents the deeply personal role faith can play in culture, identity and belonging. The work also invites reflection on how religious identity can intersect with social and economic inequality, particularly when minority communities experience barriers to opportunity, security or representation. Rather than assigning blame, the painting asks us to consider how a society can protect the dignity, freedom and equal participation of people of every faith.

Inequality Series 3 — Ryan Michael
What We Leave Behind 2026 – Inequality Series · Ryan Michael

This painting depicts an elderly man reflecting on a lifetime of extraordinary change. Born into a country under British rule, he witnessed India gain independence in 1947 and transform from a largely agrarian society into one of the world's major economic powers within a single generation. Yet beneath this remarkable progress lies a familiar contradiction. As India has grown in wealth and global influence, the benefits of that growth have not been shared equally. Economic power and opportunity remain concentrated, while millions continue to struggle for security and a better future.

Seated beneath an ancient tree, the man becomes a symbol of both India's deep roots and its changing landscape. His contemplation invites us to consider the hopes of those who fought for independence and ask what freedom, progress and prosperity should mean for everyone.

Inequality Series 4 — Ryan Michael
The Right to Health 2026 – Inequality Series · Ryan Michael

This portrait reflects the relationship between poverty, health and inequality. For those living in poverty, poor health can become more than a medical issue — it can limit the ability to work, earn an income and secure a better future.

India has made significant progress in expanding healthcare, including HIV treatment, yet access to timely and adequate care remains unequal. With an estimated 2.5 million people living with HIV in 2022, the scale of the challenge remains significant.

The figure in this painting represents the human cost of being left without adequate support. His physical vulnerability invites us to consider how poverty and ill health can reinforce one another, creating a cycle that is difficult to escape.

When access to healthcare depends on circumstance, illness can become another form of inequality.

Inequality Series 5 — Ryan Michael
Aasha – Hope 2026 – Inequality Series · Ryan Michael

This work portrays an Indian farmer holding his young daughter, capturing a quiet moment of tenderness, love and uncertainty. As he looks down at her, his expression alludes to his thoughts about his child: what kind of future awaits her in a world shaped by profound economic and social inequality?

The child represents hope and possibility, while the father's contemplative gaze reflects the responsibility and anxiety of a parent who cannot control the circumstances into which his daughter has been born. The contrast between their intimacy and the broader realities of poverty and inequality is central to the work.

The painting considers how economic disadvantage can shape opportunity, education, security and ultimately the trajectory of a child's life. It asks whether hope alone is enough when access to opportunity is determined by the circumstances of birth. At its heart, the work is about the universal hopes parents hold for their children — and the ever changing world in which those hopes must survive.

Inequality Series 6 — Ryan Michael
Room for Two More – Karuna (Compassion) 2026 – Inequality Series · Ryan Michael

In India, poverty and limited access to resources can place enormous pressure on families raising children. For some, the inability to provide food, healthcare, education and a secure home can contribute to children becoming separated from their families or entering institutional care.

Inequality is not only about the difference between the wealthy and the poor; it can also determine whether a family has the resources and choices needed to give their children a secure future. These children represent the human cost of that divide — and the importance of ensuring every child has the opportunity to grow up safe, supported and loved.

Inequality Series 7 — Ryan Michael
The Wisdom of Silence – Prajna (Wisdom) 2026 – Inequality Series · Ryan Michael

This portrait reflects the enduring tradition of wisdom passed from one generation to the next within Indian culture. The elderly man, with his long white beard and hands gently held together, appears deep in thought — perhaps reflecting on a lifetime of experiences, changes and lessons.

India's ancient traditions have long placed value on reflection, patience, knowledge and the understanding that comes with age. These ideas continue to influence Indian culture today, even as the country rapidly changes and modernises.

For me, the figure represents more than an individual. He becomes a symbol of a generation that has witnessed enormous social and economic transformation. His quiet expression invites us to consider what we inherit from those who came before us — and what wisdom, values and stories we choose to carry forward.

Inequality Series 8 — Ryan Michael
All Aboard! 2026 – Inequality Series · Ryan Michael

The image of a family of four tightly packed onto a scooter is instantly recognisable across India. For many Indians, it evokes memories of childhood — of crowded streets, family journeys and a simpler way of life.

For me, this scene brings back those childhood memories, but looking at it now as an adult, I see something more. What can appear nostalgic or charming from a distance is also a reflection of necessity. For many families, a scooter is one of the few affordable ways to transport the entire family through India's busy streets, where owning a car remains beyond their financial means.

The scooter therefore becomes more than a means of transport. It represents family, resilience and togetherness, while quietly revealing the economic realities faced by millions of ordinary Indian families.

Inequality Series 9 — Ryan Michael
Where We Play 2026 – Inequality Series · Ryan Michael

For children, play can happen almost anywhere. In the crowded informal settlements that exist alongside railway lines in some of India's major cities, children often create their own spaces for play within an environment shaped by poverty and limited resources.

These two children sit beside active railway tracks, a world away from the safe playgrounds many children experience elsewhere. What may appear to be an ordinary moment of childhood is also a reminder of the circumstances in which these children grow up, where basic sanitation, safe recreational spaces and other opportunities may be limited.

The proximity of wealth and poverty in India's cities can be striking. Modern buildings, businesses and prosperity can exist only metres away from communities struggling with basic needs.

Where We Play asks us to consider how much a child's surroundings can shape their experience of childhood.

Inequality Series 10 — Ryan Michael
Who Will Look After Me? – Tanhai (Loneliness) 2026 – Inequality Series · Ryan Michael

Traditionally, many Indian families have lived across generations, with grandparents and extended family sharing the responsibility of raising children while parents work. For generations, this structure has provided children with care, companionship and a connection to family stories, traditions and memories.

As families move from rural areas to cities in search of employment, this support network can be left behind. Without grandparents or extended family nearby, children may spend more time alone while their parents work to make ends meet.

This young girl appears to be waiting at home for her parents to return. We can only imagine whether she is lonely, hungry or simply waiting for someone to come through the door.

Her quiet moment represents a broader cultural shift — where economic necessity can create opportunities, but also leave behind traditions and connections that once held families together.

Inequality Series 11 — Ryan Michael
No Place at the Table 2026 – Inequality Series · Ryan Michael

This painting explores the human cost of economic inequality in contemporary India. The ornate iron fence becomes a visual metaphor for the divide between those who have access to security, opportunity and prosperity, and those who remain excluded from it.

The man's position outside the gate is not simply a representation of poverty, but of a broader social system in which circumstances of birth can profoundly influence a person's opportunities and future. Drawing on my Indian heritage, I use portraiture to humanise inequality and challenge the viewer to look beyond statistics and economic figures.

The work asks: who is allowed through the gate, and who is left outside?

Inequality Series 12 — Ryan Michael
A Generation Rising 2026 – Inequality Series · Ryan Michael

These brothers represent the next generation of India — a generation growing up in a country undergoing extraordinary change.

Their expressions convey strength, confidence and creativity. They stand together not as symbols of what India lacks, but of what it has the potential to become. Their generation will inherit the challenges of inequality, opportunity and social change explored throughout this exhibition, but they will also inherit the knowledge, resilience and determination to shape something different.

India's future will not be defined solely by its wealth or economic growth, but by the people who carry it forward. These young men represent the possibility that innovation, education, creativity and resilience can open new paths where previous generations faced limitations.

After exploring inequality and hardship, I wanted to end this series with hope — a reminder that the future is not predetermined. It belongs to the next generation to imagine, create and shape.

Exhibition merchandise — prints and products from the Marginalised paintings series.

Inequality Exhibition Merchandise
Inequality Exhibition Merchandise
Inequality Exhibition Merchandise
Inequality Exhibition Merchandise

Contact

Commissions, purchase enquiries, or just to say hello.

Shipping & Returns

Shipping rates
ItemDomesticInternational
A4 Print$15$30
A3 Print$20$40
A2 Print$30$55
Original$50–100Quote on request
Processing time

Prints are dispatched within 3–5 business days. Originals are shipped within 7–10 business days.

Returns

Returns accepted within 14 days of delivery. Items must be undamaged and in original packaging. Return shipping is the buyer's responsibility unless the item arrived damaged.

Damaged items

Contact us within 48 hours with photos. We will arrange a replacement or full refund including shipping.

FAQ

Do you accept commissions?

Yes. Use the form above to describe what you're looking for — size, subject, colour palette — and I'll provide a quote and timeline.

What are the prints printed on?

310gsm Hahnemühle fine art paper using archival pigment inks. Each print is signed, numbered, and comes with a certificate of authenticity.

Do I receive a certificate of authenticity?

Yes. Every original and limited edition print comes with a signed certificate confirming title, medium, dimensions, edition number, and date.

Standard prints vs. limited editions?

Standard prints are always available in A4, A3, and A2 on archival paper. Limited editions are restricted to 25 per image — signed, numbered, with certificate. Once sold out, no more are produced.

Can I see a work in person before buying?

Studio visits by appointment if you're local. Otherwise I'm happy to provide additional photos or arrange a video call.

What payment methods do you accept?

Credit/debit cards via Stripe. For originals, bank transfer and payment plans are also available — just ask.