I’m originally from Derby but moved to London over 30 years ago to study at an art school and never left. Growing up in a non-artistic family environment in the north gave me even more motivation to venture out into the wide world and make my dream come true. Some people would call it an escape. When I was young and asked what I wanted to be, I always said, “I don’t know, but it won’t be boring and it won’t be normal.”

Shortly after leaving college, I began my journey into the wonderful world of costume design, working on television, film and theater projects. I really felt like I belonged to the industry and stayed there for over 20 years. Finally, I gave in to an overwhelming urge to return to my first passion: art. To discover my own creativity and style in my own way.

I am a contemporary abstract artist inspired by the colors and shapes of nature and the world around me. My fascination with finding contrasts in my surroundings and how they can evoke emotion when you least expect it results in bold and vibrant abstract pieces. There isn’t really a pressing point in my work, and that’s definitely the point. So many artists tell a great story or express a strong opinion in their work. I’m not that artist. I’m an artist who lets the feel of the process take over. I’m an artist who sees and perceives everyday things that inspire me to just start a project. I see my work as an arrangement of shapes and colors.

I firmly believe that art doesn’t have to have meaning to be good. Yes, meaningful art has its place and is extremely important in the world, but also art that can bring a sense of calm, contentment and happiness just by being. My art is a journey from one point to another, from A to Z with many stages in between. It’s a personal way of thinking, a window into what I’m thinking about while painting and where each marker takes me next. Bob Dylan wrote, “The best art is meaningless.” Love it.

My collections are mostly inspired by a number of my own photographs, starting with those that capture the beauty and simplicity of the world. Not infrequently, these show rough, angular industrial landscapes in contrast to the uncertainty of the constantly changing nature around them. It could be the empty space around a roof or a shadow on a wall. I then distill my compositions to their raw, abstract and appealing interpretation through mixed media, collage, sketching and painting. I move from my initial sketches and collages to a more abstract concept. My thought process becomes a stream of conscious choices that flow from one idea to another, propelling each idea and concept into the next. Without the first grade I would not reach the tenth grade.

I recently photographed London buildings. I then make cyanotypes of it and paint or draw over it. I collaged and layered them to create new beginnings for a new series of paintings. After gathering all my new ideas I will start painting and create a more abstract series of oil and mixed media pieces. However, my vision will always change as the process progresses, so I can never predict what the outcome will be.

My art teacher at school said to me, “Michelle, can you imagine making art every day?” I said, “No, how is that possible?” She said, “Go to college and study art, and You’ll find a job that allows you to create and do something artistic every day.” I think she knew this wasn’t the world I came from, or that this wasn’t even a concept that I would have thought possible. From that moment I knew what I was going to do. This one teacher had the greatest influence on my artistic career.

My first artistic influence was Andy Goldsworthy for his innovative sculptures in nature. I think he inspired me to open my eyes to my surroundings and the environment. My other inspirations are Anish Kapoor for his moody colors, Maria Bartuszova for bringing her ideas to life over the years, and Andreas Gursky for his ability to see and capture something beautiful in everyday life.

I’d rather listen to them tell me what they’re thinking than tell them what I’ve painted. I suggest it can be anything they see. I get even more excited when the viewer sees something in the painting, how it evokes memories and feelings and what it has evoked in their own creative imagination. I’m happy not to tell the viewer how it started unless they ask.