Michelle Seelig is an artist and designer living and working in Melbourne, Australia.
After completing her BEd in Dance and Media Arts she furthered her studies in an Art Therapy Masters, where Visual Art stole her heart.
Her 2D and 3D works explore ideas of home and belonging.
1995 -1999 Master Of Arts In Art Therapy, LaTrobe University, Melbourne
1987 – 1990 Bachelor Of Education, Victoria College, Rusden, Victoria
(Double Majors in Media Arts and Dance)
2018 Growing Wings Growing Branches, Manyung Gallery Malvern, Melbourne
2017 Rainbows In The Roof, Gasworks Arts Park, Melbourne
2009 The Good Room, Green-Wood Gallery, Melbourne
2008 Someone’s Been Sleeping In My Bed, Green-Wood Gallery, Melbourne
2007 Open For Inspection, Gasworks Arts Park, Melbourne
2006 Secrets Of The Babushka, Gasworks Arts Park, Melbourne
2018 Sea, Sky And Space, Manyung Gallery, Sorrento , Victoria
2017 Art In Tune:Art And Music Festival, Brighton, Melbourne
2016 40 x 40, Brunswick Street Gallery, Melbourne
2015 Postcard Show, Linden Gallery, St Kilda, Melbourne
2015 Who Is Looking At You, Cambridge Studio Gallery, Melbourne
2013 Belle Arti Prize, Chapman and Bailey, Melbourne
2012 Toorak Sculpture Show
2011 Toorak Sculpture Show
2010 Linden Postcard Show, St Kilda, Melbourne
2009 Burnley Harbour Art Show, Melbourne
2008 Barratt Gallery, Alstonville, NSW
2008 FEHVA Exhibition, Byron Bay, NSW
2005 Linden Postcard Show, St Kilda, Melbourne
2005 Kingston Arts Centre, Melbourne
2003 Linden Postcard Show, St Kilda, Melbourne
2002 Linden Postcard Show, St Kilda, Melbourne
2000 Metropolis Gallery, St Kilda, Melbourne
2009 Vogue Living Australia (Sept edition)
2009 Leader Newspaper Profile
2008 Melbourne Weekly Magazine, Nov 12th, 2008
2008 The Age Newspaper – Domain, November 1st, 2008
2007 The Age Newspaper – My Space Column, September 29th, 2007
2007 Melbourne Weekly Magazine Oct, 2007
2007 Art Almanac Profile, October 2007
Art is a means of connecting to our unique, personal stories. My work explores ideas of home, family and belonging. Home is where life and love are captured in the ordinary moments and I make work that elevates these ordinary moments. My work pays tribute to everyday objects and gives them symbolic significance.
I love to play and make space for happy accidents that unfold spontaneously during the making process. I like to keep the beginnings as open ended as possible so that the work can reveal itself to me. I start out never knowing exactly where the work is headed and I have learnt not to fight it nor rush it nor steer too forcefully.
I delight in wonky lines, organic shapes, whimsy and playfulness.
I am largely self-taught as a visual artist. Straight out of school I completed a Bachelor Of Educa-tion with a double major in Dance and Photography. Whilst freelancing as a dancer and choreogra-pher I became increasingly interested in other art forms as a means of expression. l completed a Masters Degree in Art Therapy and, with every intention of becoming a practitioner, I was unex-pectedly struck and fell deeply in love with the art-making process and my life took a sharp turn. My muse emerged from the sidelines and I began to draw, paint and create furiously and prolifical-ly. I felt alive and energised. I was open to possibilities and enchanted by what emerged.
My creative practice spans more than 20 years. I have founded and run creative businesses in that time, worked alone and in collaboration as both an artist and designer, run workshops and classes that support others in their creative journey but my first love is to immerse myself in the creative process and explore what emerges.
I am an artist who uses drawing as my primary medium. Drawing allows me to slow down, listen and think as I enter into my own art-making process. It enables me to remain ‘in conversation’ with the work. I can make constant adjustments along the way, which helps to keep the spontaneity in the conversation. It becomes a fluid, continuous process of either moving forward or changing di-rection.
The way I make work forces me to closely observe the drawings as they unfold in order to know where we go next together. When I begin a drawing I start without an end in sight. My very first step is to empty my mind before creating a small mark, without any intention or pre-conceived notion of where things are heading. I find this part of the process challenging as I grasp for certainty. so I have to let go, trust in my own process and allow myself to be taken on the journey.
I try to remain patient and open with the image, making room for the unexpected to appear, rather than jumping in too early with a more obvious reading of the shapes, and prematurely driving the work in a particular direction.
I progress very slowly, staying very present with every mark. I do not want to miss anything or overlook any possibilities that may be arising.
This way of working allows me to keep things open and spontaneous and discover meaning in the marks. It is only when I respect this part of the process that I discover new, less obvious connec-tions, thus keeping my art fresh and honest. This creative process in itself probably says as much about the work as the final image itself.
When drawing, I prefer to work monochromatically. I want to keep my attention on the purity of the form, tone and texture of the elements in the artwork and I find when working with colour that I be-come distracted by other visual decisions that need to be made.
My whole purpose for making art is to see what wants to be expressed. As much as possible I try to get out of the way and then, when I start to see a little part of my own story unfolding, I take charge, actively step in and drive the image to its conclusion. It is at this point that I can be bold, knowing that the message is truly mine.
As I move forward to resolve the piece I reflect on recent thoughts and experiences. I add (or sub-tract) details in order to fully express the meaning held in the work as succinctly as possible. These details help to capture and convey the layers of meaning. The images in my artwork reference per-sonal life events and thoughts, but the work also speaks to broader issues. I explore themes of home, family, childhood and a sense of belonging.
Once I have completed a cycle of the creative process in this way and the piece is complete, es-pecially when the work speaks to the heart of a matter, there is a deep sense of satisfaction.