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Michael Morey Hensley was born on August 6, 1962, in New Orleans, Louisiana. Shortly thereafter, his family relocated to Taos, New Mexico, a region celebrated for its stunning landscapes and thriving artistic community. Surrounded by beauty and creativity, Michael was deeply influenced by his environment and by the artistic legacies of his parents. His mother, Carolyn B. Hensley, was an educator and art director who nurtured creative expression in young minds. At the same time, his father, Jackson M. Hensley, gained recognition as a respected artist whose work resonated with both critics and collectors. This rich familial and cultural atmosphere laid the foundation for Michael’s path in the visual arts.

After graduating from Taos High School, Michael moved to Woodstock, New York, to attend the Woodstock School of Art. There, under the mentorship of modern master Vladimir Bachinsky, he immersed himself in the classical disciplines of drawing and composition. Bachinsky’s deep reverence for artistic process and the old masters ignited in Michael a passion for anatomy, idealized proportion, and the expressive power of line. This formative experience solidified Michael’s commitment to the visual arts and inspired his pursuit of rigorous training.

At the age of eighteen, he relocated to New York City to further refine his craft at two prestigious institutions, the Art Students League and the National Academy of Design. His technical abilities quickly earned him recognition, particularly from instructor Gustav Rehberger, who awarded Michael a full scholarship in acknowledgment of his exceptional draftsmanship and potential. Rehberger, himself a respected figure in the New York art scene, became a pivotal mentor, eventually advising Michael to pursue his creative path outside of institutional constraints, cautioning that further formal study might dilute his emerging artistic voice.

Driven by a deep fascination with the human figure, Michael devoted himself to the study of artistic anatomy. He spent countless hours drawing from live models and internalizing the nuances of musculature, bone structure, and gesture. Even when working without live reference, his studies maintained anatomical integrity and emotional intensity. His early body of work, marked by precise and expressive figure drawings and intricate anatomical renderings, earned acclaim from scholars and fellow artists for its technical mastery and youthful intensity.

Following this period of focused training, Michael returned to Taos to help care for his ailing mother, who battled Type 1 Diabetes. This return to his roots marked a profound shift in his life and art. Immersed once again in the landscape of his childhood, he began exploring philosophy and classical literature, influences that increasingly informed his artistic vision. His canvases from this period reflect a more introspective tone, with each brushstroke revealing an inner dialogue that explores themes of mortality, transformation, and the human condition.

It was during this deeply reflective period that Michael embarked on a series of large-scale narrative paintings, including his pictorial tour de force, Ascent and Descent. These works, populated with figures in complex, dynamic poses, demonstrate his command of anatomy and his ability to weave emotion and symbolism into compositional design. He also completed "Sangre de Cristo," a crucifixion painted in honor of his mother, and "Prometheus Bound," a deeply personal meditation on suffering and endurance. Shortly after his mother’s passing, he painted An Allegory of Time, one of his most moving tributes and a testament to the emotional depth of his practice.

In addition to his achievements as a painter and draftsman, Michael is a dedicated educator who has cultivated a loyal following through his dynamic instruction and inspiring demonstrations. He teaches artistic anatomy, portraiture, fantasy art, creature design, and classical oil painting with clarity, precision, and passion. His workshops, offered through Taos Municipal Schools, UNM-Taos, and the Millicent Rogers Museum, are celebrated for their immersive and empowering approach to learning. Whether guiding young artists or mentoring seasoned practitioners, Michael is known for his ability to unlock creative potential through the mastery of technique.

Today, Michael continues to live and work in Taos, New Mexico, sharing his life with his wife, Erica Olson Hensley, and her son, Oliver. He is a proud father of three children: Havean, Joshua, and Zoie, and a proud grandfather to Yvie, Emma, Carter, and Hazel.

Allegory of Time

The composition features a youthful figure cloaked in black, whose head, aged by time, is that of a skull. The timeless soul, in the grasp of a Golden Eagle, is being carried away to an unknown, mysterious place. The Golden Eagle represents a higher power; it is the bearer of life, humanity, harmony, and wisdom. Many cultures have beliefs about where one may go in the afterlife, and these beliefs are dependent on one’s spiritual and cultural views. More importantly, one should live for today, for in life, all things must eventually come to pass. One’s allotted time can be fleeting, depending on the fullness and completeness of one’s existence. Individuals should always strive to be kind, considerate, and compassionate toward all. Ultimately, all that matters is how you treat others. There is beauty and relativity in all that exists in nature, and it is up to each person to recognize the importance of everything happening around them. Even within ugliness, one may find beauty. Never be fooled by the exterior image of what stands before you; beauty always exists, but sometimes it lies deep within.

Michael M. Hensley

The Gathering

Inspired by a love of ancient Greek and Christian ideals, “The Gathering” reflects my imaginative musings on those themes. It was my aspiration to take several complex ideas and transform them into a unique and profound composition, essentially creating a work where the only limitation was the viewer’s imagination. Many of the ideas behind this work will always remain locked within. For me, the beauty of art lies in its mystery. I do not wish to stifle the imagination of each individual viewer.

I feel, however, that the following loose connotation is somewhat necessary to keep my painting from being completely inaccessible. The overall theme is mortality versus immortality. More specifically, I have included (with artistic license) the four horses of the apocalypse (in my interpretation, the White Horse represents Hope), a Prophet, Christ (shrouded in Joseph’s coat of many colors), the Two Thieves, Prometheus, and Adam and Eve.

Why butterflies? Butterflies have captivated people since ancient Greek times, where they were held in high esteem. Greek civilization viewed butterflies as symbols of the soul’s immortality due to their transformation from pupa to butterfly.

The metamorphosis from a humble larva to a diaphanous, richly colored butterfly inspired their imagination. In Greek culture, this symbolized the significant fulfillment of man’s destiny and the transcendence from earthly life to the afterworld. The Greeks identified so strongly with this belief that they used a single word to describe both the butterfly and the soul (psyche).

Centuries later, entomologists intent on classifying all insect fauna revived the word and applied it to a small group of butterflies that became known as the Psychidae family. They are the only trace remaining of this unassuming insect’s fabulous importance in the metaphysics of an entire civilization.

The stark contrast between the vibrant butterflies (immortality) and the skeletal rider (mortality) presents one of the more obvious interpretations, but many others exist that are less clear. Even the specific fauna of the butterflies significantly contributes to the meaning of life in this work (once again, there is artistic license regarding the butterflies' color).

While some may find it obvious and others less so, both Christ and Prometheus served as protectors of humanity, enduring tremendous sacrifices for the sake of mankind. Thus, in this interpretation of human destiny, it is Prometheus who acts as the guardian of Adam and Eve.

At this point, I must conclude my ramblings before I reveal more information than necessary, undermining each individual's interpretation. I hope this work sparks your imagination and inspires you to ponder mankind’s fate and existence in an ever-struggling society. For me, the meaning of our existence is a puzzling realm. I believe one should always strive to be kind, considerate, and compassionate toward all. Ultimately, all that matters is how you treat others.

Michael M. Hensley