To Look Without Fear

Opening June 21, 2015 - Hodson Gallery, Frederick Maryland

Artistic expression often serves as a powerful outlet for emotions and experiences. In “To Look Without Fear,” the fusion of various mediums—sculpture, photography, and interactive objects—creates a profound dialogue between the viewer and the creator. Michaels’ work invites us to engage with his journey of personal healing, transforming trauma into a palpable narrative that resonates within us. The installation is not merely observed; it demands our participation and reflection, confronting us with the complexities of life and the necessity of acceptance. This dynamic interplay reveals how art can be both a personal sanctuary and a public commentary, fostering connections and offering solace to those who experience it.

Reflecting on the transformative events in my life, I delve into my connection with the gay community. Each piece of this collection is steeped in layers of trauma, violence, grief, and healing. Critical topics include abuse, childhood grooming, the importance of understanding one’s community, the symbolism of objects in religion, and the journey of self-healing. These themes bear a stigma that often causes discomfort, potentially leading audiences to avert their gaze if confronted too directly. To navigate this, I’ve chosen to title most of the works “Untitled"  deliberately to obscure the underlying meanings, prompting viewers to engage with the pieces based on their forms.

 This approach invites audiences to navigate the artworks through their own experiences and perceptions, fostering a space where they can lead the dialogue. Each physical form I’ve created serves as a catalyst for reflection and interpretation, allowing the viewers to shape the conversation around what they see and feel.

The artwork embodies a profound interplay between materiality and perception. By employing wood, pigment, LED lights, mirrors, and plaster, the designs create a rich tapestry of rectangular forms, both two-dimensional and three-dimensional. The color palette—red, black, and white—not only sets a striking visual tone but also deeply connects to the artist's personal narrative, particularly through the use of human blood as a medium. This unique choice transforms the red pigment into something profoundly intimate and visceral, inviting viewers to consider the relationship between artist and artwork in a deeply personal way. The choice of black pigment, known for its light-absorbing qualities, creates objects that challenge viewers to engage closely to decipher their forms and textures. This interaction encourages a more immersive experience as viewers confront the boundaries between absence and presence in the artwork. 

Mirroring this theme, the incorporation of children's dolls encased in white pigment evokes feelings of nostalgia and contemplation about the physicality of touch and the body. Meanwhile, the use of various light sources—including the transformative LED lights—further elevates the viewer's experience, enveloping them in a spectrum of red that can evoke a spectrum of emotional responses. 

As the installation transforms the architectural space, it becomes more than just an exhibition; it becomes an embodied experience that encourages reflection on the nature of things—both tangible and ephemeral. The artist's exploration of light as a sculptural medium creates a space where physical presence and emotional resonance coexist, inviting viewers to participate in a dialogue between the art and their own perceptions.

The works have been a healing process for my personal experience growing up as a gay male in a religious community. I create because I need to. The works serve as proof of therapy a process that has kept me alive and transforms trauma into its physical form.