Michelle developed her renowned cut series in 2001.
Beginning with steel which is torched by hand, she applies her various
materials creating small, original paintings which cross the line into
dimensional sculpture by way of her trademark plexiglas mount using
These small works may also become a sort of maquette, often
inspiring larger works on canvas or wood.
Many of Michelle's loyal collectors await with anticipation new
for their expanding collections of her ongoing cut series.
Inside her studio is where she can always be found, cloistered in, as if
a closet in the wall of the world she scarcely leaves, unassuming of
her successes, ensconced in her appetite to create, to expose herself
only in her art, which can be displayed as a proxy, as our closest
impersonator of her innermost self.
Michelle's privacy within her studio walls should not mark
but illuminate the independence with which she works, conquering
the materials at her disposal as opposed to the materials of the
everyday that fail to incite change, to bring about a bettering in
Much of Michelle's methods gain influence from the worldview
sabi, a Japanese aesthetic that embraces the transient self. that is to
say, rather than disregard one's weaknesses, or to think of such
imperfections from a state of confrontation, Michelle, as put forth in
her work, seeks to embody these reputed flaws.
In accepting the process of life, of its misshapen ways and
understated moments, one can maintain a fuller sense of self, and
approach once challenging faults with gratification, with thankfulness.
in a stain, we find understanding; in a dent, our ability to heal; in a
blemish, an unchained beauty. Michelle's art is a diligent offering
this ideal, of the concerted outlook we must bring unto others, and
into our own lives.