​The Houses of the Holy collection is an exploration on memory, place, and identity, where past and present converge to transform our perception of history and art. The artist invites, “If you use your eyes, you can hear the delicate rhythm of the misty memories of days gone by,” urging viewers to attune themselves to the subtle echoes of time, reimagined through color and texture. Since 2011, this ongoing exploration has probed the complex relationship between form and perception. On the raw canvas, color, shape, and texture intertwine, creating multidimensional compositions that are both fluid and precise. These works pulse with a visual music, soft rhythms, fleeting flutters, and driving beats—that reverberate beyond the surface. Houses is an invitation to engage with the invisible threads that bind us to the past. It challenges our perceptions of memory, history, & time, urging the viewer to explore art not just visually, but on a deeper, more introspective level.

Houses of the Holy XIX ©2024

The nineteenth work in a series begun in 2011, Houses of the Holy XIX continues Michael’s long meditation on color, form, and texture, each element pushed to its edge on raw canvas. Through years of deliberate experimentation, she has created a surface alive with movement, layered and resonant, as if the pigments themselves hum with remembered sound.

The vertical blue strokes almost feel like a symphony frozen mid-crescendo, as if sound waves solidified into a kind of sacred code. There is a tension between order and improvisation, discipline and surrender. Each mark becomes a note, each layer a chord, together forming a composition that lingers between seeing and hearing.

“If you use your eyes,” the artist reflects, “you can hear the delicate rhythm of the misty memories of days gone by.”  The work breathes with that rhythm. It invites the viewer to listen, to feel, to recognize something deeply familiar, the pulse of memory, the echo of what endures.  More than an image, Houses of the Holy XIX is a meditation on the sacred and the eternal. Each canvas becomes a vessel for the intangible, translating emotion into form, thought into texture, and silence into resonance.  The painting holds a quiet monumentality, its scale balanced between intimacy and awe.

Stretched and sized at 62⅝ × 60½ in. (159.06 × 153.67 cm) 

Miles of Houses² No.8  is the point of suspension before revelation — the threshold between architecture and breath. A measured field of mineral gray anchors the composition, layered with translucent veils that seem to hold both light and time in containment. Within that quiet structure, narrow seams of motion appear, drawn in deliberate, almost meditative gestures that echo the rhythm of thought before expression.

The surface feels still yet charged, humming with latent tension like an orchestra tuning before the first note. It lives within the geometry of discipline, where creation is refined by restraint and silence becomes a kind of architecture. The work holds the energy of stillness — a measured balance where form meets discipline and thought gathers before it takes shape.

Its clay field and intricate linear passages generate an interior strength, a reminder that clarity is born in quiet and that what is withheld can be as powerful as what is revealed. Miles of Houses Squared No. 8 honors silence not as absence but as foundation — the fertile pause from which integrity and form rise.
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14.5 x 14.5 inches (36.83 x 36.83 cm) (Stretched)

Miles of Houses² No.9 opens the breath that its predecessor holds. The composition releases the quiet tension of No. 8 and transforms it into movement, the luminous strokes rising through indigo and white, like sound taking shape in air. The field feels lighter, more vertical, as if rhythm itself has begun to ascend from the measured gravity of the earlier work.

Here, structure yields to resonance. The once-contained lines now drift upward with the freedom of vibration, translating architecture into melody, discipline into expression. Layers of paint act like echoes of motion; their soft transparencies evoke the shimmer of light reflecting on water or music crossing a still room.

The painting embodies emergence, the instance when thought becomes voice, when form begins to breathe on its own. It is the revelation that follows refinement, a meditation on how clarity transforms into radiance.




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14.5 x 14.5 inches (36.83 x 36.83 cm) (Stretched)

In Houses²  VIII–IX, stillness transforms into light.Miles of Houses² No.8 gathers strength through restraint, while House 9 releases it through movement and rhythm. Together, they trace the passage from structure to freedom, from precision to resonance — a quiet architecture of transformation where form becomes feeling and silence becomes sound.  Placed together, they create a continuous field of becoming. One holds, one releases. One defines, the other reveals. They form the architecture of transition — Earth to Sky, compression to radiance, mastery to expression.

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