Michelle Ross: The Desire
Exhibition Catalog
Published by the Art Gym
Designed by Heather Watkins
Contemporary Northwest Art Awards: Michelle Ross
Bonnie Laing-Malcolmson, 2011
Ross has a brilliant way of bringing just the right amount of process to the work, and the finished paintings prove that careful consideration pays off, one small move at a time.
Paint, Cut, Tear, Repair
Sue Taylor, 2016
In Ross’s hands, collage with it’s palpable materiality intensifies painting’s already sensuous appeal. Moreover… when painting prevails and collage itself is not at play, we may imagine triangular and trapezoidal shapes as having originated as pieces of colored paper placed in relationship, abutting each other or overlapping.
Maybe It's Just Heaven
Stephanie Snyder, 2016
I sense the membranes of paint underneath each hued brick—they feel taut at the edges, built up just slightly where their edges touch and pronounce their materiality.
In Conversation: Michelle Ross and Abby McGehee, 2016
I have thought about the studio as an animal, a beast that needs to be fed and exercised regularly, an when it is not, atrophies become visible. It’s some kind of hybrid between domestic pet, farm animal, and something more wild—like a bird of prey used for falconry.
Published by The Ford Family Foundation
Designed by Martha Lewis
Edited by Abby McGehee
Essay by Sarah Sentilles
Redress: Michelle Ross and Garments for the Invisible
Sarah Sentilles
Ross’s paintings and sculptures–their folds, fabric, shapes, bends, lines–do feel like bodies, on the floor, on the wall, but they don’t look like bodies. No head, no arms, no face, no torso. Abstraction offers a way out of the impasses of representation.