Original Monotype mounted on linen
Ink on BFK rives
81 x101
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Original Monotype mounted on linen First exhibited at Lizzie Glendenning gallery Enquire with Lizzie Glendenning
Ink on BFK rives
81 x61 cm
Available with Lizzie Glendenning
Monotype mounted on linen
First shown at Lizzie Glendenning Gallery at the Woolwich Contemporary Print fair Enquire with Lizzie Glendenning for more information
Ink on BFK rives
51 x 71 cm
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This piece brings together a monotype of Zeus and Io with a separate monotype of a still life of flowers. Floral still lives are traditionally associated with beauty and mortality, and placed alongside the mythological scene, the two images begin to inform one another. Their proximity creates a space where narrative and symbolism become less stable, allowing multiple readings to emerge.
Monotype, is a process that resists exact replication and invites failiure. Smears, blurred lines, and uneven pressure interrupt the refined surfaces of the original paintings. Zeus’s smoke appears darker and more material, while the hand becomes heavier, edging toward the corporeal and monstrous. Io’s gaze is redirected away from Zeus and outward, toward the viewer, giving her presence a sense of hesitation or unease.
Rather than offering a single interpretation, the work remains open-ended. The title Clinch suggests both a physical hold, a pun and a merging of forms, reflecting the tension between, uneasiness, constraint, and the physical properties of the piece ,that run through the image.
title Clinch
size is 85 x120 canvas size
monotype and hand finishing/painting
materials
ink on bfs rives
title Clinch
size 85 x 120 cm
medium mounted monotype
ink on bfs rives
Ink on BFK rives
23x31 cm
Enquire with Lizzie Glendenning
monoprint on BFK rives
Available at Rabley Gallery
https://rableygallery.com/product-category/artists/natasha-michaels/
Revision (Venus and Cupid, venetian red), 2025
This large scale monotype re-imagines Lucas Cranach’s woodcut of Venus and Cupid, enlarging and distorting the original from of idealised myth to uneasy reality.
In this version Venus, traditionally portrayed as the serene embodiment of beauty and maternal grace appears visibly uncomfortable with her surroundings Her mythological identity is out of place with the altered space she inhabits.
The transition from the precise lines of the woodcut to the spontaneous unpredictable nature of monotype intensifies this tension. Venus becomes a figure caught between the weight of mythology and contemporary emotions.
Michaels is drawn to early prints like these as they are one of the first “mass” produced images of idealised beauty, shaping ideals of the feminine and the role of women in both public and private spheres. While Cranach circulated these ideals within an exclusive often intellectual elite this monotype reflects on how the same images of feminine identity have been democratised and commodified across time
Large scale monotype on BFK rives
185 x 115 cm
In the collection of Ushaw
Ink on BFk Rives
monotype ink on BFK Rives
Available with rabley gallery
https://rableygallery.com/shop/artists/natasha-michaels/natasha-michaels-understudy-vi-copy/
Monotype Ink on Bfk rives
enquire with Rabley Gallery
A Difficult Woman (Heresy), 2026
A Difficult Woman reinterprets an engraving depicting heresy through the process of monotype. The work is informed by the artist’s interest in how women’s bodies have historically been used to personify ideas considered dangerous, immoral, or disruptive. None more so than the depictions of heresy as a female form – contrary and difficult!
At the centre of the composition is a hybrid figure: a female body with hooves and a tail, with a dragon’s head and a cow’s head emerging from her shoulders. Entwined with her is another composite creature, combining a male head with the body of a tiger, positioned between her legs. Through the monotype process, the figures begin to press into one another, their boundaries becoming less distinct.
Michaels also reflects on printmaking as a medium through which such images were circulated and repeated, helping to fix a particular idea about women in the visual imagination. By reworking the original engraving through monotype, the image is loosened from its certainty, allowing it to remain open, unstable, and unresolved. The original image relies on sharp, controlled lines; in this version, those lines blur, smear, and partially dissolve. This shift in process moves the image away from precision and toward instability.
Ink on Bfk rives
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ink on BFK Rives
(Sold) Original monotype for sale through Rabley Gallery First exhibited at Woolwich contemporary print fair Enquire with Rabley Gallery
monoprint
Edition of 3
Enquiries, rabley gallery
Ink on BFK rives
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