Michelle Segre (b. 1965, Tel Aviv, Israel) moved to New York City in 1970 and graduated from the Cooper Union School of Art in 1987. In the 1990’s she produced detailed beeswax and plaster forms based on enlarged familiar objects such as bread slices and chicken bones - the decayed detritus of the every-day. Over the years, these forms became abstracted, exploring a surreal, transformed sense of reality. Industrial metals, colored yarns, found objects, recycled remnants of past work and other materials co-mingled with papier-maché and plaster in explosive, free-wheeling sculptures whose intensity seems to be channeling an electrical current pulsating in space.

In a Hyperallergic review in 2022, John Yau writes, “What about the fact that the yarn and the loose, impermanent weaving of frayed strips of colored cloth invite viewers to closely examine how the work was made, as we might do while looking at the layered skeins of paint in Jackson Pollock’s “Autumn Rhythm (Number 30)” (1950)?…I cannot think of anyone else who makes artworks like Segre’s, particularly on this scale. And yet they don’t feel monumental or overwhelming…There is so much going on in Segre’s work that in touching upon her use of materials, how we define objects in a Postminimalist time, and what subjects she might be addressing, I have only scratched the surface.”