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About Mike


Michael Cheshire born in England – moved to Australia with parents and siblings in 1960’s – thus found he had already left home when he set out to leave home. Traveled widely and wildly doing geo survey work ,servicing burroughs  business machines, at the cusp of  change from divining rods and abacuses to high tech computer technology. Got a start in Art as a maintainence painter of  the Sydney harbour bridge.


Along the track he found himself able to build a family home from the Tropical exotica of salvaged and recycled offcuts from an Atherton Tablelands sawmill. Some of the rainforest veneers used date to this time. Living close to  Evelyn on the apex of the east west watershed amongst the north Qld rainforest he was aware of the grown tree to its resultant timber, and has since continued to recycle the discarded run offs from veneer mills. In the background of  each completed piece is the trees of the rainforest, that provided



Sri Yantras – these  Mandalas are copies of hindu aids to meditation a circled focus to aid the mind to resist the idle thoughts and chatter of peripheral distractions from union with oneness.

Geometric Patterns – using visual expansion of a single shape and  colour contrast  leads to a visual seasickness/ alternation ?/ that defies a single logical perception creating a sense of dis – reality as in mc Escher . T he holes are/ whats left out is  as important as the design

The dragons – A simple recreation of the ying yang idea – that all is complimented by its opposite.

MT kailash  – Important  center of the Universe as defined as the Mt Meru of Hindu ? /Buddhist legend


Wildlife  -From Cockatoos, Finches , flowers to domestic Cats looking at the moon – these are probably more reflective of a journeymans absorbtion in his art/skill they are what they are with no addendum meanings


Once heard to describe himself as a “technician not an artist”  found a lot of inspiration in the mathematics of fibronnacci numbers , golden ratios and the exploration of fractal patterns of repetition. He would probably settle more comfortably for the description as craftsman rather than artist.

Though a lot of his work seems a reflection of spiritual concerns he would eschew any formalized concept of organized religion and constantly reiterates his faith in science. Though faith is not a word he would use – empirical evidence  abrogates all righteousness – unfortunately its only the evidence available so far, and its Ying is accompanied by a Yang  — oneness eludes.