Roll Up! Roll Up!

Come a little closer ladies and Gentleman...

See 'Carminativum' and her flatulent tunes
'Sucker' and 'Sucked' a pair of baby milk machines
See 'Chicken Little Syndrome' and her fear mongering that the sky is falling
Don't miss 'Enantiodromia' and her plural personas
For it's first reveal...
And not for the faint hearted
Meet 'Vore' served on a silver platter to fulfil hungry appetites

Now don't be scared
Step a little closer...

A working-class, country girl, tainted by the industrial backdrop of the iron and coal industries, yet enamoured by the revolution of Victorian splendour, Michelle has always dreamt of 'Great Expectations'. Spirited by the melancholia of Miss Havisham and Pip's moral struggle to hold onto his youthful hopes and dreams, her creative journey is bent with a tragic and melodramatic air of romance.

Reared a stones throw away from the iconic, Gothic town of Whitby, she recalls being seduced by her frightfully, fascinated childhood memories of a former sideshow attraction on Church Street. Her recollections of witnessing a pickled dicephalic baby and the exposed, staked bones of Dracula began the blurring of her boundaries between reality and fantasy. 

Attuned to the paralytic lullabies of Mark Lanegan and the Queens of the Stone Age, alongside the twisted, Faustian, folk tales of Tom Waits, Michelle is spellbound by her experiences of false awakenings and pre-lucid dreaming. Akin to the character Ofelia, in the parable 'Pans Labyrinth', her vision is surreal and perplexing like a Lynchian film, through which she searches for lessons and principles along her labyrinthine journey.

Mourning the loss of the big top and sideshow guests that celebrated her marriage, 'Fairground Fables' was conjured to question the satirical and moral ambiguity of fringe entertainment, presented behind the curtains of Vaudeville theatres and Victorian Side Shows. Kindred to the magic and mayhem of Jean-Pierre Jeunet's hopeful, carnivalesque personalities and the anthropomorphic characters of the brothers Grimm or Lewis Carroll, Michelle draws from idioms and fables that play with the truths, tragedies and fortunes, to conjure characters that juggle contradictory messages of benevolence and malevolence, telling tales of endurance, through the polarities of defiance and despair, innocence and knowledge, humour and tragedy, and possession and loss.

Taking reference from psychoanalytical theories, such as Freud's hypothesis of uncanny encounters in 'Das Unheimlich' and Kristeva's psychological analysis of abjection  in 'The Powers of Horror', Michelle realizes potential by enlivening everyday objects with an air of uncertainty, drawn from the traces of life that befall the discarded or well loved. Employing the act of subversion, she draw from the Surrealist practice of assembling incompatible objects, creating forms that transcend everyday reality, to encourage her audience to take an encounter with the apprehension of things, allowing for the possibility of bestowing something evocative, enchanting and empowering, that may lead us to question the promiscuity of our own being.