MICHELLE DOLL
Flesh and Bone
“As above, so below. As within, so without. As with the universe, so with the soul,” reads The Emerald Tablet, a hermetic document and the origin for the title of Michelle Doll’s upcoming exhibition. On view from September 3 to 28 at Lyons Wier Gallery, As Above, So Below delves into the physical and metaphysical energy between closely bonded individuals.
“All of Michelle’s work is about human connection,” says collector Steven Bennett. “Her approach to figuration is to start with the emotional and work outward to the physical. In every instance, however, the work is underpinned by a spiritual dynamic in which the souls of those depicted are intertwined just as their bodies are. If one does not see Michelle’s work as both physical and spiritual, they will miss the point.”
Taking on a dual meaning, the works in As Above, So Below depict subjects from below as observed from above, while also going below the surface to unveil a deeper esoteric meaning. Behind intimate moments filled with vibrating flesh lies reflections of spiritual alchemy—a manifestation of our deepest desires.
“Initially, when I started focusing on this body of work years ago, it was kind of out of this desire for me to focus on what I wanted in life,” says the artist. “I wanted to focus not on what I was feeling
but instead create a visual meditation of what I wanted in life—a deep physical and emotional connection. As a result it has culminated in my life in so many ways—not only in my own personal [romantic] relationship but also in the relationships that I have with people that I work with and in my family and everything. It’s been so beautifully inspiring.”
Since capturing such intimate moments requires trust and vulnerability, Doll typically paints close friends and family. By using real couples as her models, she shares the “intimate love connections that everyone desires.” A self-described “fly on the wall,” Doll does not direct her models. “For the most part it’s a pretty impromptu experience for me, which is a nice surprise because you’re always going to get something different,” she says. A celebration of light rising out of darkness, Doll’s newest works suggest that she has manifested what she was once searching for. This is apparent in her 2018 work Couple, in which two dark-haired lovers become one in tender embrace. “I loved their black hair flowing and merging into each other,” she says. “Their light flesh is emerging out of the darkness into this light—they felt very connected, to me.”
While Doll’s work has become “tighter” it still leans more towards impressionism with aspects of photorealism peppered in.
“I’m really into painting the nuances of the flesh and the weight of bodies on top of each other,” she says. “It’s still not quite as tight as a photorealist would paint. There’s a lot of brush work in it, and I don’t think I could ever paint hyper-realistically. But I would say that the forms are more fully realized.”
Doll has also incorporated more familial scenes, like Mother Child, into her work. “I feel like the narrative speaks to a more universal theme,” she explains “I didn’t want it to just be about couples, because intimacy speaks to more than just lovers. It speaks to the mother and child bond or the family bond as well. I want to live in a world where men and women feel loved, understood and nurtured by both giving and receiving love. [A world where] intimacy feels natural and acceptable—it’s the starting point for the greater understanding of human desire for acceptance and connection.”