The Pinstripe Symphony carefully explores the interplay between primary colors and geometric shapes, using enamel and acrylic on canvas to achieve both a multidimensional depth and a strikingly flat surface. The work reflects a musical experimentation, an abstract arrangement that evolves organically through vibrant, lyrical lines and the soulful movement of yellow, red, and blue. These elements come together in a dynamic visual harmony, capturing the essence of rhythm and energy as they dance across the canvas.
Completed in the spring of 2025 in the artist’s Soho studio. The expansive scale amplifies the work’s visual impact, inviting the viewer into a world where color and shape become as fluid as music itself.
62 ⅝ x 60 ½ inches (159.06 x 153.67 cm) (Stretched)
Enamel Acrylic on Canvas
Houses of the Holy XIX is a striking addition to a remarkable series that began in 2011. Completed in 2024, this body of work reflects Michaels' ongoing exploration of color, shape, and texture, pushed to their limits on raw canvas. Through years of experimentation, the artist has achieved a multidimensional quality that is at once freeform and precisely crafted, creating a unique dialogue between chaos and control. The work pulses with an energy that recalls music—its forms and layers evoking rhythm, melody, and the play of sound in visual form.
The artist whispers, “If you use your eyes, you can hear the delicate rhythm of the misty memories of days gone by.” In this way, the canvas transforms into a living thing, inviting the viewer to listen—to hear the resonant echoes of people, places, and moments frozen in time, but not forgotten. The “Houses of the Holy” series is more than a collection of images; it is an invitation to engage with the intangible: the emotions, the memories, the echoes of what once was, and what still endures. These works capture the perpetual energy of the sacred—those people, places, and objects that hold deep significance, some still here, some fading into history, but all revered and deserving of remembrance.
Each piece is a vessel, holding the intangible and making it visible: a quiet yet powerful tribute to what is eternal in the human experience—the beautiful, the powerful, and the most sacred.
Field of Intervals composes vertical bands across a chalk quiet ground, each stripe a measure of time and each gap a held breath. Rusted reds and lifted whites gather into a cadence of music and memory, where rhythm becomes form. A faint horizontal scuff near the upper field reads as a breath mark, an invitation to pause before the count resumes. A narrow split through the center steadies the rhythm and holds a crisp line against the softer edges. The surface records touch and release, pigment rising and thinning, and the composition settles into a contemplative tempo that holds the room.
