In working with the seasons, the sun and the moon, the winds and sunshine, and whispers of metaphysical tickles, ideas are fermented in brainy, brawny brine.
NOTE: This is a living document, and open to change based on new learning and understanding. Current words written September 29, 2022.
The root of this creative practice is in peaceful intention to observe inner and outer landscapes with calmness and curiosity, sans judgement.
Looking up at big, beautiful, open and transient skies brings an immediate and comforting sense of grounding with the universe, as well as a reminder that humans are a wee part of it all. We’re interconnected with the skies, the soil, the planets, the stars… [Insert squee! emoji here]! These guides inspire growth and creation, and a reminder to respect seasonality and flow.
The Trees! The Trees! No, this is no suggestion that they are attacking us. Far from it. The grace and generosity with which these glorious plants continue to support human existence is humbling. The horror lies in the effect that human actions have on these species. Hope lies in that they are actions that can be changed.
Years of mark-making have relied on materials made from trees. Behind the scenes at Pickle Bliss is an ongoing exploration of the underlying question: How can creative practice grow in healthy and supportive symbiosis with these amazing alchemists of oxygen?
Michelle Baginski nourishes worlds with creativity and bare hands.
Intuitive painting and drawing thoughtfully transform surfaces and spaces into works oozing with layered meaning and rich emotion.
This indie artist is excited to communicate in their first and favourite tongue, the visual language. Tactile, mark-making tools and organic materials — such as ink, paint and paper — dance in the creative process to serve up textured narratives with rugged, natural beauty.
Dedicated to imaginative drawing since circa 1983, Michelle is adept at distilling concepts into tasty tidbits. Experience as an editorial illustrator and an eight-year stint as an improvisational comedy performer with The Big HOO-HAA! has further strengthened this creative muscle.
Completing a Bachelor of Arts in Theatre and Film & Television at Curtin University of Technology provided many invaluable experiences. One of these was the opportunity to gain practicable knowledge and understanding of the power of storytelling and creative collaboration for stage and screen productions. Looking at a drawing or a hand-painted mural may also serve as a sort of theatron —“viewing-place” — providing space and form for reflection, connection to community and celebration of authentic, joyous being!
From a place of curiosity and play, this visual storyteller is interested in exploring what’s beneath the concrete while finding strength with the skies.
How can I help with your next creative project?
It’s not complicated
It is simple
I pick up mark-making tools to elicit a dimple.
Why I “ART” – Michelle Baginski
Solo
2019 m.o.s.t., Kent St., Fitzroy, AU
Group
2017 RESPECT – A QUEER AFFAIR, Brunswick Street Gallery, Brunswick, AU
2017 DRAWN TOGETHER, Radical Ideas pop-up gallery, North Melbourne, AU
2014 A BRUSH WITH THE LAW, Trophy Shop Project Space, Preston, AU
Site-specific Installations & Murals
2017 Joy of marks (that unite), Place Activation Mural, Curtin University, Bentley, AU
2017 Fundamental Lines, site-specific mural, Smart Signal Art, Werribee, AU
2017 Joined, site-specific mural, Smart Signal Art, Werribee, AU
2017 PINEAPPLE DAYS, Franklin Street former Telephone Exchange, Adelaide, AU
2015 Not For ReSale ROBOT, Tuxedo Cat – Wills Street, Melbourne, AU
2011 LoveFridge, Adelaide Fringe Festival, Electra House, AU & Melbourne Fringe Festival, North Melbourne Town Hall, AU
Baginski, Michelle. “circumstances.” The Lifted Brow. Issue 32, December 2016 page 24.
Baginski, Michelle. (untitled) If we all spat at once, they’d drown: drawings about class. Edited by Sam Wallman. 2016, Pen Erases Paper.
Baginski, Michelle BAGGAS. “Thirsty.” Água com Humor – V PortoCartoon World Festival. Edited by Luís Humberto Marcos, 2003, page 44.
