Artist Statement
Michelle at Phoenix Art Space studio.
Photo by Manel Ortega
My work explores the relationship between colour, form and feeling. I am interested in how my mood dictates the colour palette I choose to work with. I might start a painting in warm tones, for example, then feel completely out of sync with those colours the next time I'm in the studio, so I might put that work aside or paint over it. This use to frustrate me until I realised that my work is a visceral expression, so choosing the right colour to work with 'in the moment' is an essential part of the process.
I am particularly fascinated by mine and others' emotional response to abstract images - where the response is not led by a recognised picture. Why can we be so emotionally affected by simple images? I ask this question of myself and the viewer.
When working I am constantly in a relationship with the painting - responding to colour by how it makes me feel. I make work in series or themes, which allows me to set boundaries to a project. Some paintings are many layered, as their stories develop and change. Other pieces are born complete although these are a rare species, which flow through me only occasionally (when the stars align and I’m without any self-consciousness).
It interests me how the viewer responds to the work - what they see in a painting and how it might resonate for them. The pictures develop their own stories, which might be projected onto the painting by the viewer. One of my favourite quotes, which highlights the link between what one brings (subjective experience) and how one approaches a work of art, is from John Berger:
"We never look at just one thing; we are always looking at the relation between things and ourselves. Our vision is continually active, continually moving, continually holding things in a circle around itself, constituting what is present to us as we are" ('Ways of Seeing').
I am particularly fascinated by mine and others' emotional response to abstract images - where the response is not led by a recognised picture. Why can we be so emotionally affected by simple images? I ask this question of myself and the viewer.
When working I am constantly in a relationship with the painting - responding to colour by how it makes me feel. I make work in series or themes, which allows me to set boundaries to a project. Some paintings are many layered, as their stories develop and change. Other pieces are born complete although these are a rare species, which flow through me only occasionally (when the stars align and I’m without any self-consciousness).
It interests me how the viewer responds to the work - what they see in a painting and how it might resonate for them. The pictures develop their own stories, which might be projected onto the painting by the viewer. One of my favourite quotes, which highlights the link between what one brings (subjective experience) and how one approaches a work of art, is from John Berger:
"We never look at just one thing; we are always looking at the relation between things and ourselves. Our vision is continually active, continually moving, continually holding things in a circle around itself, constituting what is present to us as we are" ('Ways of Seeing').
Biography
Photo by Manel Ortega
For my exhibition history, see Exhibitions.
Education
2011 Fine Art FdA, University of Brighton
2010 Art Foundation BTEC, CCB, Brighton
2008 Art & Design NCFE, CCB, Brighton
2008 Humanistic Counselling certificate, Gestalt Centre, London
2002 7307 Certificate in Teaching, City & Guilds, CCB, Brighton
2001 Yoga Teacher Training certificate, sVYASA, Bangalore, India
2000 BA (Hons) Visual Culture, University of Brighton
Education
2011 Fine Art FdA, University of Brighton
2010 Art Foundation BTEC, CCB, Brighton
2008 Art & Design NCFE, CCB, Brighton
2008 Humanistic Counselling certificate, Gestalt Centre, London
2002 7307 Certificate in Teaching, City & Guilds, CCB, Brighton
2001 Yoga Teacher Training certificate, sVYASA, Bangalore, India
2000 BA (Hons) Visual Culture, University of Brighton