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 Forrest-Beckett has always been spirited with Great Expectations. Reared a stones-throw away from the iconic, Gothic town Whitby, Michelle recalls a frightfully fascinating childhood memory of a former sideshow attraction on Church Street. Her recollection of witnessing a pickled dicephalic baby and the staked bones of Dracula began the blurring of the boundaries between reality and fantasy. 


Attuned to the paralytic lullabies of the musicians Mark Lanegan and the Queens of the Stone Age, and the Faustian, folktales of Tom Waits, Michelle is spellbound by false awakenings and 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 explores principles and possibilities along her labyrinthine journey.


Mourning the loss of the big top tent and her 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 and Lewis Carroll, Michelle draws from idioms and fables that play with tales of tragedy and fortune, through characters conjured to juggle contradictory messages of benevolence and malevolence, defiance and despair, innocence and knowledge, and possession and loss.


Taking reference from psychoanalytical theories such as; Freud's hypothesis on the uncanny and Kristeva's psychological analysis of abjection  in 'The Powers of Horror', Michelle draws upon the traces of life that befall the discarded or well loved, by enlivening everyday objects with an air of uncertainty. Like the Surrealist’s who animated subconscious states by transcending objects from their former functions, Michelle assembles things left behind on dusty shelves, creating magnetic  forms that encourage the viewer to take an encounter with the apprehension of things. Spirited by hopes and dreams ‘Fairground Fables’ is bent with a nostalgic and melodramatic allure that bestows something provocative and enchanting.