I began my foray into new media arts with the similar mindset I had when entering my ART2050 Basic Graphic Communications course, a class I was taking in conjunction with NMA2050.

Unsurprisingly, this view changed over the course of the semester. Producing commercial art and art out of intrinsic motivation were vastly different experiences and demanded different thought processes, ideas and emotions. Despite greater control over themes and mediums in NMA2050, I found myself revisiting common themes emerging from pieces in both classes – but with a more amorphous grasp in new media form. 

Having completed all projects, I begin to scrutinize each piece for the threads that run across all pieces. In examining my own work, I must examine my own character and how I deflect my own idiosyncrasies into my work and bleed it into each medium. 

My projects are an extension of myself –  the turbulent motions defined by a college student in a tub of nerves. My breadth of mediums range from the camera workings of my DSLR, digital manipulation, audio sampling to a slew of pastels and muted colors. From the waxy-coated layers of sweet purples and lilacs in animation, to dark twangs of suspense and something sinister to it.  

The defining point of my pieces are in the details –  from wherever I derive my inspiration, I pay tribute to. Old school hip hop, the arts & culture, my NYC back drop, and criminal cases are enchanting frameworks that I have explored in a sampling of mediums.

My work is an outwards reflection of my innermost self, a conscious dig into the fragments that piece together Michelle Sheu™.  It cannot be singularly defined, or contained. It is not a moment, but rather a movement. It is the live action, wide screen shot of myself in motion, as I grow and develop as an individual in a nonsensical world.