Work samples
About Michelle
A native of Denver, Colorado, Michelle La Perrière knew she would be an artist as a child. She has lived in Maryland since 1987, when she moved to Baltimore for graduate study with Grace Hartigan at the Maryland Institute College of Art (MICA). Her drawings, paintings, prints and mixed media collages combine image fragments from visual source materials with observed and imagine forms and spaces. Her work has been shown in the United States, France and Japan, and is in private and public… more
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Uncharacteristic Weather
Anthropocenic thoughts...
and feelings of deep sadness...
...inklings of hope...
and feelings of deep sadness...
...inklings of hope...
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Winter DazzleA lovely landscape in Maryland. What has this place "seen"? If it were 150 years ago, how would I be able to see this space dependent on how I looked and my social position.
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Fault (Line)Compartmentalization of phenomena - internal and external... This small oil painting on wood panel acknowledges an interplay of realities - a line tracing a geological fault; whose fault is it that we are where we are with climate change? Whose "lines" do we buy into, follow along with, want to be true? The beauty of a particular weather, a certain structure - and how painful the reasons. Are these flowers or viscera, pieces of land or sky?..
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Terrifying BeautyThe need for order - geometry - rectangles holding little (big) landscapes together - acknowledging such beauty, and at the same time, its fragility... inherent in time and change, and also - made more frightening by climate change
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FlashA dominant landscape rests on a thin band of red, a memory scape stays in the upper right hand, a quick burst of light and swirl of some kind of energy - a photograph? a bomb?
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Not Yet"Not Yet"; oil on wood panel; 12"X12"; 2018
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Tree (Wound)A small tree, barely seen, in the near distance hovers in a space that is not clear. Is it dusk or memory? And what is the space on the left? A placeholder, a compartmentalization of related feeling? There is a seeping, an acknowledgment of the murkiness of existence?
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Render(ing)12' tall, my wingspan (arms width) wide, this graphite on paper drawing was created in Finland, during a residency when I was meditating every morning and evening. Without cell phone, without internet, presence with the birch trees, the wind, my wild and focused thoughts and feelings... pears, generously left in the bowl... The gorgeousness of fruit in the evening light...
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Tulkinta ("Rendering")How do we acknowledge the profundity of the wind in the birch trees - These birch trees in my heart? / nämä koivut sydämessäni. This tall (12' high) by my arm span width is a companion drawing to Render(ing) (meidän rakkautemme näihin puihin ja taivaisiin). Using graphite and colored graphite on paper, the marks acknowledge the myriad of presences one may feel/experience in a given day, or possibly even within a minute or two...
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Redemption"Redemption"; collage on 12"X12" paper; 2015
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Onset"Onset"; collage on 12"X12" paper; 2015
En Gender
Considering the many ways one is categorized, marginalized and sometimes glorified, I am interested in our choices and those which are not our own, those dictated by the culture at large. In what ways are we acknowledged because of the bodies we inhabit? How do we own our own bodies? How are we seen for who we really are?
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ThwartInnocence and experience, times of day and psychological spaces - how to stand regardless of what has happened - oil on wood panel
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CaptiveAbuse of power - altering presence - Explorations of innocence and experience in this small oil painting on panel
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Privilege"Legacy and cause," "how" we are born into the world colors our abilities to dream and function.
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Privilege+Winter Dazzle=TaintedThese 5"x5" oil paintings, when combined, speak to the inequity of one's position in the world - what one may view as beautiful or menacing, dependent on background, experience and perception formed by time and place -
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Root (Turnips)Graphite and oil paint on wood panel - diptych. Procreation, living energies, youth and aging -
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Plumb (Plums)Graphite, oil and acrylic on wood panel - diptych. Procreation, living energies, youth and aging; damsel in distress, young man proposing - icky tropes lingering -
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MisconceptionThese graphite on paper and vellum drawings, combined with a sculptural "drawing" made with kudzu, present inquiry into presence and meaning. Begun in Virginia, in an area that had been a plantation, these drawings were made during the time images of the governor of Virginia appeared in blackface in the 1990's. Kudzu covered many bushes and trees, reminding me of the history taking place in that very space - secrets not secret - histories covered over but present -
In Be(TWEEN)
Adolescence is embued with ambiguity and enigma. Profoundly at the cusp and simultaneously swimming in shades of murkiness, one sees glimmers and sparkles, and is enmeshed all at once. I was struck when my daughter became 11. Innocence and what lays ahead, acknowledging the world "out there," and the world "inside," experience and impermanence comingling and never settling - The In BeTWEENness of it all -
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In Be(TWEEN)"In Be (TWEEN)"; graphite on two sheets of polyester film with wood holder; 77"X40"; 2015
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Having the Ball"Having the Ball"; graphite on two polyester film sheets with wood holder; 73"X40"; 2015
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Evidence.png"Evidence"; graphite, litho crayon, paper doll part on polyester film with wood holder
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detail, "hidden" beneath - Evidencedetail - "Evidence"; litho crayon, paper doll part on polyester film sheet; 76"X40"; 2016
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Rotation"Rotation"; Triptych: graphite on paper; 73"X120, three sheets flush; 2018
Grim(m) Stories
A book of Grimm's Fairy Tales found its way into my arms during an unexpected trip to the The Salvation Army store. I thought I would be drawing (as in, using pencil and paper) from this rich source of source material. Instead, I was obsessed for days, cutting apart and reconfiguring. The illustrations were asking to be cut apart - to be "deconstructed" and remade into new images - with their "hidden" meanings revealed. Each title is taken from one of the Grimm tales, all double entendres crucial, enabling the many more than two inherent meanings. Grim(m) Stories acknowledges the (pervasive) abuse of innocence.
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Faithful Ferdinand & Unfaithful Ferdinand"Faithful Ferdinand & Unfaithful Ferdinand"; collage on 12"X12" paper; 2015
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Female (Love & Sorrow To Share)"Female (Love & Sorrow To Share)"; collage on 12"X12" paper; 2015
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Male (Love & Sorrow To Share)"Male (Love & Sorrow To Share"; collage on 12"X12" paper; 2015
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The Father's Legacies"The Father's Legacies"; collage on 12"X12" paper; 2015
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The Lying Tale"The Lying Tale"; collage on 12"X12" paper; 2015
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The Magic Fiddle"The Magic Fiddle"; collage on 12"X12" paper; 2015
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The Sleeping Beauty In The Wood"The Sleeping Beauty In The Wood"; collage on 12"X12" paper; 2015
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The White Snake"The White Snake"; collage on 12"X12" paper; 2015