Michael Doochin paints like a pilgrim.
Each canvas he completes is less a picture and more a record of presence, the kind of presence earned not by chance but by journey. Before the brush comes the walk. Before the color comes the encounter.
He has traveled to more than seventy countries, many of them remote, many reached not for luxury but for learning. With a camera in hand and curiosity in his bones, Doochin’s first artistic language was photography. These images, many of which are part of the Smithsonian Institution’s permanent collection, captured fleeting moments of tribal life, sacred labor, and landscapes pulsing with their own stillness.
But photography, for Doochin, was only the first layer. The deeper work began when he asked himself what those images had really shown him. Not just what he saw, but what he had felt.
That question brought him to the canvas.
“I started painting because there were things I could not say with the camera,” he says. “I wanted to bring the energy of those places home with me. I wanted people to feel what I had felt.”
His realist paintings reflect this devotion. Scenes from China, West Africa, Sicily, and elsewhere do not appear as exotic snapshots. They are human, grounded, and intensely alive. Each person depicted, whether a harvester, a vendor or a singer at work, is portrayed with dignity and presence.
In one painting, rice workers in rural China are nearly fused with the field itself. Their posture, their dress, their proximity to the soil speak to an intimacy with the land that transcends image. “They are part of the cycle,” he says. “They are not apart from the earth. They belong to it.”
This sense of belonging, of merging with place, is central to Doochin’s practice. He does not paint stories he has not lived. Every scene, every figure, is drawn from direct experience. His rule is simple. Do not paint from distance. Paint from presence.
His travel is not recreational. It is devotional. A way of encountering spirit through culture, labor, and landscape. And through these encounters, his palette has expanded. From the warm tones of desert rituals to the deep blues of island skies, each region leaves an imprint. Sometimes it emerges in a realist piece. Other times, in the bold color families of his abstract work.
“I remember a red from Morocco,” he says. “It stayed in my mind for years before it finally became part of a painting.”
These sensory memories, including colors, rhythms, and even smells, do not just inspire the content of his work. They inform its energy. As a Healing Touch Practitioner and student of spiritual systems, Doochin paints with an awareness of vibration. Each piece is meant to carry something felt, not just seen.
This is especially true of his abstracts. Often beginning with nothing more than a call toward a certain color, these paintings evolve over time, layer by layer, like the unfolding of a landscape. They hold within them the energy of the places he has visited. Not as literal references, but as emotional echoes.
“Some of my abstracts are spiritual maps,” he says. “They track where I have been, internally and externally.”
His process reflects the same spirit of travel. No destination fully known. No plan entirely set. Each painting becomes a journey of its own.
He often begins in the center, slowly building outward. Sometimes the painting resists. Sometimes it surprises him. But always, he returns to what he learned on the road, to be patient, to be observant, to stay present.
“I have stood in temples and deserts, in markets and mountaintops. What I remember most is not the place itself, but the feeling it left in my chest. That is what I try to paint.”
Collectors often remark that his work carries a stillness that transcends subject matter. They describe a sense of travel without movement, of visiting a space within themselves through the painting. It is no coincidence.
Doochin’s goal is not just to depict. It is to invite. To offer the viewer a portal. A way to remember something sacred they may not have known they forgot.
And for those who have never traveled far, his work serves another purpose, to bring the world closer, not in postcard perfection, but in spirit. In resonance. In truth.
What makes Michael Doochin’s work so distinct is not the scope of his travels, but the sincerity of his attention. He paints like someone who has listened. Who has seen not only with his eyes, but with reverence.
Each brushstroke carries geography. Each canvas, a pilgrimage.
And through his art, we are invited to walk beside him, into the world, into ourselves, and into that quiet place where memory becomes sacred.
Portrait of Michael Doochin by Burton Silverman: One Master Interpreting Another
This piece features a portrait of Michael Doochin by none other than Burton Silverman, one of the most respected portrait painters in America. It is a nod to Doochin’s growing presence in the art world and a recognition of the unique voice he brings to it.
