The Symphony Collection embodies a convergence of auditory imagination and visual expression. Each work transposes the rhythms and tones that resonate within my mind onto canvas, creating compositions where color, texture, and form become instruments in a unified orchestration. In this creative process, I become both conductor and composer, guiding the viewer through movements that unfold like musical scores translated into visual form. Each piece is a living composition that invites viewers to experience the unseen melodies and intricate harmonies that exist within the quiet expanses of the mind.

Symphony, in the Meadow ©2019

66.5 x 41 inches (168.91 x 104.14 cm) (Stretched) 

Enamel Acrylic Metals on Canvas.

A vibrant orchestration of color where each stroke becomes a note in an unfolding visual symphony. Swirls of yellow, blue, and green pulse with energy, capturing the quiet melodies and rhythmic life of a meadow in bloom.

The canvas becomes both stage and score, where each hue—etched into the textured background—plays its part in a dynamic, ever-evolving composition. The textured background, rich with rhythmic strokes and bold marks, acts as the foundation of this visual symphony—an undercurrent of subtle energy that drives the work.

Just as a symphony is held together by its score, the textured layers of color provide structure, with their tactile vibrancy capturing the essence of a meadow in full bloom. As the colors interact, they create movement, each shift and change resonating with the subtle, soulful rhythm of nature. From the soft whisper of a breeze to the flutter of leaves, the entire painting hums with life and energy, as if the land itself is alive with music, with every brushstroke creating a moment of melody, harmony, and a symphony.

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Sherlock Holmes (Nightscape) ©2023

33 x 83 inches (109.22 x 210.82 cm)

Acrylic, enamel and gold leaf on canvas.

Sherlock Holmes (Nightscape) marks a bold new direction within Michaels’ Landscape collection, blending signature techniques from the Symphony series with a fresh, narrative approach. The piece weaves together lyrical movement, textured layers, and symphonic rhythms to bring to life a city alive with energy and intrigue. Framed by a magnifying glass, the silhouette of Sherlock Holmes stands as a beacon against the illuminated night sky, representing sharp intellect poised to unravel the complexities of the world.

The interplay of light and shadow plays a crucial role, with the radiance emanating from Holmes symbolizing wisdom and insight. This subtle yet powerful light reveals Holmes’ perceptiveness—the ability to see beyond the surface and understand what remains hidden. The vibrant pulse of the city mirrors the endless mysteries that challenge him, all unfolding beneath the glow of his discerning gaze.

At its core, the painting is a philosophical exploration of the city as a living, breathing entity—a place where knowledge, wisdom, and intellect converge to navigate the ever-shifting landscape of human experience. Holmes, both detective and philosopher, embodies the pursuit of truth amidst the chaos of a city that never sleeps.

Completed in the fall of 2023 at the artist’s studio in New York, this work represents the fusion of intellect and creativity, where every layer of texture and light contributes to the unraveling of life’s most profound mysteries.

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Unscripted No. 30 ©2023

26 x 26.25 inches ( 66.04 x 66.67 cm) (Stretched) 

Enamel Acrylic on Canvas.

Unscripted No. 30 is part of the Symphonies collection, where light and shadow engage in a delicate dance, captured in a striking white-on-black composition. Against a deep, inky background, vivid white strokes pulse like notes in a silent symphony, their rhythm punctuated by the contrast between clarity and obscurity. The canvas becomes a stage for this dynamic interplay, where each bold stroke conveys both tension and release, like music emerging from silence.

Using a combination of acrylic and enamel, Michaels' layers textures that add depth and movement, infusing the work with energy and restraint. Each stroke seems deliberate, as if it is part of an ongoing composition—a conversation between spontaneity and structure. The contrast of white on black mirrors the duality of human experience, where moments of clarity emerge from confusion, and light finds its way through the darkness of the mind.

This piece invites the viewer into a world where the boundaries between light and dark, order and chaos, blur. It becomes more than an artwork—it’s an experience that speaks to both the intellect and the senses, offering a space for reflection, discovery, and emotional resonance. Here, the visual tension of the composition is felt, as much as it is seen, creating a dialogue that lingers long after the first encounter.

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Tea for One

52.75 x 62 inches (133.98 x 157.48 cm) (Stretched)


Enamel on canvas.


Tea for One is the first of a trilogy, a visual and emotional journey through transformation. The two key elements in the painting symbolize pivotal moments for the subject, who stands at a crossroads. Confronting their reflection, they embark on a profound internal dialogue—a reckoning with the glorious past and a tentative step toward the untapped potential of the future.


The painting’s flawless black background gleams like a polished mirror, its surface both infinite and impenetrable. It reflects the depth of introspection that emerges from isolation, a state where silence magnifies thought and emotion. Against this boundless darkness, two luminous white figures emerge. Raised and textured, they stand in stark contrast to the smooth background, their embossed quality adding a tactile dimension that invites closer inspection. Their purity and symmetry speak of beginnings—not yet solid, but full of promise. These forms capture the fragile but vital process of reconnection, bridging the self that once thrived in the world with the self that has retreated into seclusion.


“A minute seems like a lifetime… when I feel this way,” (Led Zeppelin) whispers the essence of the piece, encapsulating the aching suspension of the subject’s internal state. Time becomes elastic, its passing paradoxical—both fleeting and infinite. This suspended moment demands reckoning, where the figure confronts the paradox of longing: the desire to reclaim past triumphs while simultaneously yearning for a future yet undefined.


The glossy black backdrop serves as both anchor and void, grounding the viewer in the stark duality of isolation and connection. It invites us inward, into a space where we might confront our own moments of withdrawal and return. The surface, at once opaque and reflective, draws out the tension between memory and potential, asking us to linger in the liminal space where transformation begins.


Within this narrative, the two raised white figures are not merely symbolic; they are thresholds—bridges to a deeper connection. They embody the courage required to reconcile the past with the promise of a new future. As the subject takes their first steps toward reconnection, the painting becomes a meditation on renewal. It reminds us that the act of returning is not about reclaiming what was, but about rediscovering oneself in the process.


As the first chapter in a trilogy, Tea for One explores themes of solitude, reflection, and the inevitability of change. Through its stark contrasts and quiet complexity, the painting invites us to reflect on our own moments of transformation, where the past and future meet. What does it mean to step into a new chapter, not as who we once were, but as who we are becoming?


Completed in the blooming spring of 2014 at the artist's studio in Chelsea, New York.

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Unclassified Symphony No. 4 ©2025

48 x 42.25 inches (121.92 x 107.95 cm)

Enamel and acrylic

A kinetic field of rhythm and tension, Unclassified Symphony No. 4 unfolds like a composition without sheet music—alive, improvisational, and unapologetically uncontained. Dark looping lines sweep across layers of pale texture and quiet gold, echoing a soundscape of movement, emotion, and spontaneous expression.

There is no fixed tempo here. Instead, the work invites the viewer to feel their way through the entanglement—finding harmony in presence, flow, and the beauty of becoming.

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Tea for One, the Sequel

59.5 x 45 inches (151.13 x 114.3 cm) (Stretched)

Enamel on canvas.

Tea for One, the Sequel is the second painting of the trilogy, a profound continuation that captures the exact moment of realization. Here, the subject confronts the mirror not with uncertainty, but with a newfound understanding of how reconnection can be achieved. The two key elements, once distinct, begin to merge, their forms dissolving into the same colors as the background, signaling the integration of past and present, self and other, natural and spiritual.

The painting’s black-on-black composition exudes both subtlety and depth. The background, rendered in a mirror-like sheen of black enamel, evokes infinite possibilities, an unbroken surface that reflects not just light but the evolving nature of perception. Framed by a striking white border, this luminous darkness is both contained and infinite—a window into a moment suspended in time.

In The Sequel, the two abstract figures, once luminous white in the first painting, are now textured, rectangular, and raised, creating an embossed effect that invites tactile engagement. Their surfaces contrast sharply with the flawless background, symbolizing the active reconciliation of past and future. As the figures draw closer together, their shift suggests unity not as an ideal, but as an imminent reality—a merging of natural and spiritual forces that underpins both art and life.

The interplay of texture, color, and geometry signifies the transition from possibility to action. No longer mere beginnings, the figures have evolved, demonstrating the power of change and the necessity of resolve. The subject’s introspection from the first painting evolves into determination—a conscious effort to bridge the chasm that once divided them.

The precise application of the black enamel background invites the viewer to linger in its reflective quality. It draws attention to the delicate tension between the sleek, infinite surface and the tangible, raised forms. This interplay becomes a metaphor for life itself—smooth and seemingly unyielding on the surface, yet layered with texture, meaning, and growth beneath.

Tea for One, the Sequel moves the trilogy forward by embodying the critical moment of clarity. How do we reconcile and shape our relationships—with others, with ourselves, and with the world? As the figures merge into the darkness, they remind us that unity is both a process and a promise, forming the foundation for the trilogy’s ultimate resolution.

Completed in the early May spring of 2014 at the artist's studio in Chelsea, New York.

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Le Cirque de Soleil ©2023

48 x 39.5 inches (121.92 x 100.33 cm)

Enamel and acrylic on canvas.

For an actor, performance is life. For the viewer, life is a performance. Le Cirque de Soleil is a colorful narrative about two performers embarking on a magical mystery tour, exuding poised elegance. As the painting takes shape, the characters emerge subconsciously, guided by the interplay of color and form. The colors themselves become a musical soundtrack, setting the tone and creating metaphors for the enchanting world of two circus performers in motion.

The dialogue between visual and musical rhythm is expressed through dynamic lines, shapes, and shades of color, symbolizing the unity of natural and spiritual forces that shape the relationships between art and life. My approach blends abstract expressionism with geometric detail, capturing the spontaneity of emotions and the unpredictability of the human experience. Each brushstroke and color overlay unravels a narrative set against bold contrasts, inviting the viewer to reflect on their own complexities.

This piece embodies the vibrancy of life itself—dynamic, unpredictable, and utterly beautiful. It is designed to infuse any living space with spirited energy, merging art with the pulse of daily existence. Le Cirque de Soleil offers not just a visual experience, but an invitation to embrace the rhythm of life—where the art you see becomes as alive and transformative as the life you live.

Completed in the spring of 2023 at my studio in New York. 

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