Basic InformationProfile InfoFirst Name:Michele Last Name:Deveze Display Name:Michele Deveze Brief Description:
The Red Door Studio
I presently have almost as much space as I want (you can never have enough), and I can just about always find all my tools and the special sheets of paper and pieces of dead plants and animals that I need for the next work.
The Dirty Studio looks over Crohamhurst Ceek to Mount Beerwah, Mount Coonowrin, Mount Ngungun, and Tibbrogargan, and shares common space with all her workshop tools and one cat of no small importance. Pride of place is the etching/litho press and beautiful silky-oak and pine ex-government drafting furniture.The Clean Studio - the drawing room - is upstairs in a closed-in verandah overlooking the Blackall Range, and is shared with a few too many cats.
The free-standing and wall hung 'Stories in Pictures' made from a collage of found objects and recycled works, or illustrated non-symbols, describe allegorical landscapes - locations, sensations, memories, and personalities. Each is a unique response to resonating emotional stimuli, sometimes predictable - such as the ubiquitous boy-girl dichotomy, or the death of a parent; sometimes surprising - the half-remembered stuff of dreams, or nightmares orchildhood memories.
Drypoint Intaglio Prints
Series like 'Goats Head' and 'Emu' capture the essence of the subject through a multiplicity of strategically cropped viewpoints. The prints are not editioned - each is a unique expression of the aluminium plate as its depth and potential is explored.
The red chalk or compressed charcoal figure is as though enticed out of the prepared ground where it seems it has always lain hidden - and might return; yet, the figures are heavy, solid - as if carved with a chisel from the primed Chinese rice, bamboo or mulberry paper that they emerge from.Medium:Contact InfoContact Number: Website:http://micheledeveze.com.au/index.html Studio Address:323 Candle Mountain Drive Google Maps URL:Social ProfilesFacebook: Twitter Username: Google+:
About / Bio
Michele grew up in an artistic family, and has practiced art all her life. Despite finishing several years at each of Caulfield Technical College, Alexander Mackie College and at James Cook University, she has never completed a Fine Art degree - life was always offering too much else to do!
Michele has traveled widely pursuing artistic inspiration - including having Artists Residencies in Beijing and Morocco, and she has exhibited extensively in solo, joint, invitation and competitive shows, winning prizes at a number of events. She is now focusing on preparing the work for a major cross-media exhibition planned for 2016.
My works express perceived and sensory rather than observed or analytical subject matter. Structures and objects attract me by their geometry and tonality and their implicit but obscured history - subliminal nuances of images, shapes, lines and textures expressing emotions and sensations. Collage provides a tonal underlay, an illustrative vehicle, or an intrinsic cognitive element.
Layered compression and abstraction of space allows conceptual manipulation of memories, experiences and images, as well as technical and textural construction. Enigmatic sensations, feelings and atmosphere are stimulated by developing dynamic tensions in the interrelationships between form, shape, line, texture, colour and tone, eliciting subliminal emotional responses.
By stimulating lost sensory memories to resurface or by provoking curiosity about before, after, who, what, when, where, why and how, I tell stories without using words. The works essentially tack the subject to the now, while impressing that the now is a transient state between the past and the future.
The red chalk or compressed charcoal figure is as though enticed out of the prepared ground where it seems it has always lain; yet, the figures are heavy, solid - as if carved with a chisel from the primed Chinese paper that they emerge from.
Series like \'Goats Head\' and \'Emu\' capture the essence of the subject through a multiplicity of cropped viewpoints. The prints are not editioned - each is a unique expression of the aluminium plate as its depth and potential is explored.
The free-standing and wall hung \'Stories Without Words made from a collage of found objects and recycled works and illustrative non-symbols, describe allegorical landscapes - locations, sensations, memories, and personalities. Each is a unique response to emotional stimuli, sometimes predictable - such as the ubiquitous boy-girl dichotomy, or the death of a parent; sometimes surprising - the half-remembered stuff of dreams, or nightmares or childhood memories.
When I first started working on these four pieces for \"Belonging\" I thought that the Artist Statement would read something like: \"…\'Belonging\' begins in the province of the family. You are bequeathed a sense of belonging - usually by your mother... But what happens when, despite wanting to belong, and despite all her life trying so very hard to belong, your mother never really belonged (and your father didn’t want to belong)?...\" During the meditative repetitive process of printing editions I questioned myself and wondered if, like her, I would continue to blame my mother for all my ills - even unto the seventh generation. As I became more deeply involved in the gestation and consequent actualisation of the works I realised that they were not really about my mother at all - or rather, they were no more about her than they were about anyone, or everyone, else; that she had become my metaphor for human strength, courage and weakness, for our shared vanities, fears and foibles. I understood that \'belonging\' is like leaves belonging to trees: the tree creates the leaves and they belong to the tree. And the tree needs the leaves to belong. The leaves work, they become damaged and disfigured, and even frayed, by the rough-and-tumble of the world; the world changes around the tree – the tree grows more branches, or a neighbour shades it; and, eventually, the old leaves lose their efficacy, the tree sheds them, and they are replaced by new leaves that better belong to the new conditions, that help the tree to belong to the new environment – whether or not the changes were caused by the tree itself, or by forces outside the tree. Each photograph of my mother was taken at a life-changing moment - some are quite apparent, others, I will respect her privacy... At each of these seminal moments - moments that we can all empathise with - she was, either directly or indirectly, re-evaluating \'belonging\', whether or not she belonged, what she needed to do to belong, and, maybe even, if she really wanted to belong. Belonging 1 First hurts are often the deepest and usually take the longest to heal - if they ever heal at all; but maybe also they mark the transition from belonging to the realm of the child to belonging to that of the adult; and knowing that there is no returning to the other self. Belonging 2 The brazen and eager bravado with which we defiantly welcome a decision that our heart of hearts knows doesn\'t belong to us; which we know will compromise our sense of belonging, and maybe even our sense of self. Belonging 3 All three cousins were born within three months of each other - not by intent, but by chance. All three families turned out to be quite dysfunctional, and belonging was a genetic or contractual function rather than a state of being; rather than a belonging that nurtured the self. Belonging 4 Stuck in a self-imposed obscure no-mans-land between the past and the future, the present brutally insinuated itself, knowing full well that if it was ever going to belong, now would be the time - a time when there was no belonging to shelter the self.
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