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 reclusion, 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 people.
much of michelle's methods gain influence from the worldview wabi-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 of this ideal, of the concerted outlook we must bring unto others, and into our own lives.