Mike Egan faced challenges finding work in fine arts after graduating from Edinboro University. His first job in Pittsburgh was at the airport, but that ended soon after the September 11 attacks. With job security in mind, he turned to mortuary school, completing it the following year.
For many years, Egan worked in a field surrounded by death. Yet, through his role as an embalmer, he discovered a deeper appreciation for life. Fast forward nearly two decades, he’s now the Mary Schiller Myers Artist-in-Residence at the University of Akron, where he continues to explore themes of mortality in his art. His solo exhibition, “Remember Me Forever,” is on display at the university’s Emily Davis Gallery through April 17.
The exhibition invites viewers to ponder profound questions about life and death. As Egan puts it, “Death is coming, so what are you going to do about your life now?” His work doesn’t glorify death; rather, it prompts reflection. Despite evolving from his role in a funeral home to becoming an exhibiting artist, themes of death still permeate his art—evident from skulls and crucifixes that litter his creations.
“This kind of residency is rare,” notes Arnold Tunstall, the director of university art galleries. “Typically, artists don’t interact with galleries for a whole semester.” Egan has turned part of the gallery into a slice of his home studio, complete with a workbench labeled “DEATH,” surrounded by his ongoing projects and personal trinkets.
“I constantly paint about death to remind myself that it’s inevitable,” Egan shares in his documentary, “Death: The Life of Mike Egan.” He emphasizes the importance of living fully, given our fleeting time on earth.
Egan’s exploration of death didn’t start in the gallery. His first art show occurred while he was still a funeral director in 2006. His early work featured skulls and other symbols of mortality alongside those influenced by his Catholic upbringing. This blend of personal history and artistic vision has shaped his unique style.
He draws inspiration from various sources, including artists like José Guadalupe Posada, known for his skeleton illustrations, and Käthe Kollwitz, who dealt with themes of loss and grief. Egan also infuses elements from stained glass, German expressionism, and folk art from Poland and Mexico into his pieces. “People resonate with my work because they see pieces of themselves in it,” he observes.
As part of his residency, Egan collaborated with students from the University of Akron’s Art Bomb Brigade. He developed creative challenges focusing on patterns, colors, and symbolism, allowing students to contribute to murals that bear his distinct symbols alongside their designs. “Working with students has been both fun and challenging,” Egan said. It fosters a sense of co-creation that enriches his work and the students’ experience.
“Not everyone can engage with students and share a spirit of collaboration,” remarked Elisa Gargarella, an art education professor. Egan’s presence has greatly benefited the students, offering them a unique opportunity to learn from an experienced artist.
In the end, Egan’s journey demonstrates how art can serve as a bridge between life and death, encouraging a dialogue on a subject many shy away from. His bold use of color and symbolism offers a refreshing, thought-provoking lens through which we can examine our own lives and legacies.
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