About Hedgehog Lounge: Meet the artist and learn about her vision for her whimsical sculptures in clay and polymer
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About | the artist and her work

Angela Michalski was born in Dallas in 1962 and currently lives and works in Farmers Branch. In addition to creating her sculptural pottery she has been working as a typesetter and graphic designer since the 1980s; primarily focusing on online market research graphics for Fortune 500 companies. She is a creative person and enjoys creating logos and visuals in Photoshop and "doctoring" photographs to better represent what the client would like to see in them.

She’s been working as a ceramist since 2002 and primarily finds inspiration in the human face, animals and plants. Most of her pottery is hand-built in various clay bodies and fired in wood, soda, high-fire, low-fire or raku. She accentuates her unique designs with intricate glaze techniques and often adds manmade or natural elements to finish her pieces.

Currently she is exploring an array of natural forms that are found at the microscopic level: viruses, pollens and insect eggs, among others.

In addition, she is working on a series of long neck whimsical chickens and guinea hens. She’s always creating new creatures whether they are hedgehogs, badgers, porcupines or a variety of pinch pot monsters. A new line of business card holders has just been introduced as well as refrigerator/file cabinet magnets.

Until recently Angela has been creating in clay to nurture her soul but is now ready to share her work with a larger audience. Her work can be purchased through her website, in galleries and in her Etsy store: HedghogLounge. For more information, please visit the "contact page".

from the artist

My style is decidedly quirky. I generally work in series with recurrent themes: faces, skulls, nature’s forms and animals. When I work with clay I am reminded that with a little inspiration something can be created from essentially nothing.
Once I put my hands in the clay I usually have a pretty good idea of where I’m headed. Even in the earliest stages I usually find myself considering how a piece will be glazed, fired and amended.
When my work is going well, I am filled with a sense of elation and validation. I know a piece is done when I can manage to quit touching it and the sense of urgency to work with it dissipates.