Observing nature exercises a part of my being needing relief from its fixation on time, and these observations are my paintings. Immersive experimentation in painting landscapes gives me peace and a sense of fulfillment within myself. I create emotive and textured landscapes that reflect my deep desire to understand what it means to be alive, to be vital. My work displays the energy and vibrancy of the natural world while exploring elements of our human nature.

I paint both outdoors and in the studio from personal references, but the impetus for my work begins in ‘Nature.’ Each piece displays visuals of nature or a natural process, informed by the interconnectedness of ‘Nature’ and the human experience. My creative process is more outwardly expressive of these conceptual elements than my finished pieces appear to be, and that is where introspection on my own existence occurs. My art acquires a sacredness in this way.

Oils are my preferred medium because I enjoy the scale of depth, richness, and vibrance I can achieve that I have trouble accomplishing with other mediums. I also find their texture satisfying. My current palette is limited to Soft Mixing White, Titanium White, Ivory Black, Cadmium Yellow Lemon, Yellow Ochre, Cadmium Red, and Ultramarine Blue (inspired by the Zorn palette). Limiting the number of colors facilitates stronger color cohesiveness and complexity in my paintings.

Since moving to Maryland in September 2023, my subject matter and palette have changed. Now, I focus on tree postures and forestry scenes, whereas before I focused on sky personalities and desert geology. I find myself much more interested in night painting and capturing lowlight, soft light, and fog, which has led to a fascination with transitioning light (sunlight rising or setting, artificial light projection, etc).

When I select the size and shape of a canvas, I consider the composition of the piece and how the viewer will see it displayed. Each piece or series compliments a variety of interior design aesthetics and encourages the integration of natural elements within the space. I do frame some of my works to ensure the pieces are presented in line with my vision, but I’m never offended when collectors show me their framing alterations – I encourage it because the artwork is at its finest when it further aligns with the collectors’ vision. My inherent feminine drive to create, nourish, and care for are satisfied when the viewer becomes kindred with a piece.

I use a spectrum of techniques but favor the wet-on-wet method and impasto paint application, especially en plein air where the light changes quickly. This allows me to produce a textured painting with colors that are smeared and often mixed on the canvas. The texture and stylistic qualities compel the viewer to observe the whole painting from a distance. The viewer will find brushstrokes and textures mimicking behaviors of nature, such as movement and growth patterns. Because my work has undertones expressing time moving, there are often groupings of uniformity – in brushstrokes, knife marks, lines, and shape – creating atmospheric interest.

Although it’s clear I find inspiration in nature, I also find it in many other forms. Inspiration is easy to find once it is realized that there is an art to everything. Many artists and movements galvanize me throughout the phases of my practice. The brushstrokes used by Vincent Van Gogh; the color use and style of Gustav Klimt; the sensitivity to light within the Impressionism movement; the storytelling and attention to detail of J.C. Leyendecker and other American illustrators; and the deeply moving work of Käthe Kollwitz are just a few sources of significant influence in my current work.

With such research, thought, and understanding of processes in nature, I’m able to create paintings genuine to the real live scenes that I’m translating. From equipment to application to time consumption to mind pretzel, a constant evolution of my practice has kept me on my toes professionally and personally. Aside from creating pretty art depicting scenes from nature, my ultimate goal is to appreciate simplicity through experimentation with materials and technique, and to thoughtfully stimulate the mind.

Michele was born and raised in a rural canyon community in Orange County, CA, where she recognized her symbiotic relationship with the natural world and developed a fondness for artfully capturing her interactions with it. She demonstrated an interest in drawing and painting from a young age, developing her skills gradually. Although she was accepted into the fine arts degree program at Laguna College of Art and Design in California, and eventually attended Colorado Mountain College and Alaska Pacific University in Outdoor Recreation and Wilderness Therapy degree paths, she never attained a degree. Instead, when she wasn’t attempting to piece together an education, she was coping with the slow loss of her mother and eventually her father. Having spent her 20’s experiencing the time-consuming tribulations of grief and attempting to find a purpose in the world, Michele is now devoted to her art practice as she seeks to use painting to deepen her understanding of life and death and demonstrate the commonalities of these collective experiences. She has participated in three international artist residencies which have allowed her to expand her understanding of the cultural and spiritual leverages between humanity and nature. In 2023, she exhibited and sold work at Art Santa Fe in Santa Fe, New Mexico. Her work and creative practice have been featured in several publications. Having lived in many U.S. states thus far, she currently resides in Maryland with her husband.