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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.</p>
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 or childhood 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.
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.