Alumni portfolios

  • ADELAIDE, glass, steel, 60" x 94". Funded by University City Public Art Series, University City, MO, 2001.
    ADELAIDE, glass, steel, 60" x 94". Funded by University City Public Art Series, University City, MO, 2001.
  • IN/BETWEEN, video/glass installation, room size, 2000.
    IN/BETWEEN, video/glass installation, room size, 2000.
  • REFLECTIONS, glass, steel, 24" x 84" each panel. Permanent installation Grace Hill Medical Center, St. Louis, MO, 2002.
    REFLECTIONS, glass, steel, 24" x 84" each panel. Permanent installation Grace Hill Medical Center, St. Louis, MO, 2002.
  • REFLECTIONS, detail, 2002.
    REFLECTIONS, detail, 2002.
  • IMPERMANENCE, installation, water-reflecting pool, porcelain bowls, pump to circulate water and bowls, projected flames. 2002.
    IMPERMANENCE, installation, water-reflecting pool, porcelain bowls, pump to circulate water and bowls, projected flames. 2002.
  • IMPERMANENCE I, detail, 2002.
    IMPERMANENCE I, detail, 2002.
Statement 

Michele Owens' studio practice leads her work to public and community-based projects working with diverse populations. She has shown at galleries in the area, as well. A large portion of her recent work has been in collaboration with local arts-based initiatives concerned with disparities in social justice issues, especially homelessness. She tries to create a synergy between her own interests and issue-driven activism—attempting to create a dialogue between the mainstream and the marginal. She sees the collaborative process as a catalyst for creating energy in the spaces between people. This allows the possibility for new connections—connections that can extend exponentially beyond the work into other communities.

Michele often uses video that emphasizes documentary fieldwork and research to create awareness of issues that produce indignity, like poverty, prejudice, and access to quality education, health care, and a living wage. Collaborative partnerships and balance between individual artistic expression and community goals is key to her practice. She believes in the immediacy and emotional power of the documentary image, often using cinéma vérité techniques.

Empowering people through the free flow of ideas by word and image—and by access to information and knowledge—is key. She believes work imbued with love for the human and natural worlds, with tolerance and peace, is never afraid to allow others their freedom of expression.