Hazel McMichael

@hazelmcmichael.bsky.social

130 Followers 217 Following

antidisciplinary arts researcher & educator, recovering academic, essay writer, reemerging poet, mad queer witch, currently Curating Visibility curatorial fellow at Charleston (views mine) www.hazelmcmichael.com

Hazel faces the camera with an excited and exhausted expression in Duncan Grant’s studio at Charleston, standing in front of a mantelpiece painted with nude male figures and a bowl of water with two fish, next to a large antique glass and wood cabinet filled with ceramic objects.
A screenshot of the ProjectChange website with the blog post titled “state puppets & poetry”. A preview of the blog post reads “When the state becomes the corporate parent of a child, it also becomes our biographer.” Below this is a headshot of Hazel, a white person with short dark hair, holding a piece of paper with a woodcut illustration of a mouth to their mouth.
The text reads: The Kindling Manifesto / We gather the kindling of care from the institutions of the family, church, and state, from the good that was not good and the care that was not care. From the refuse and the refused we build our nests of fire. / kindlingcare.substack.com. The text is overlaid on a painting by Goya, Fire at Night, 1793-94, oil on tinplate, 50 x 32 cm. A fire blazes through the dark behind a group of people dressed in white, clinging together and carrying one another.
A diagram of the fold lines used to make a paper fortune teller. The shapes contain the course information mentioned in the post, alongside two images: the woman carrying two rods in Pamela Colman Smith’s illustration of the The World tarot card, and the Codrus Painter’s vase painting of Themis in the role of the Pythia (Dephic Oracle), perching on a tripod looking down into a bowl she holds with a sprig of laurel in her other hand.
A close up of two pages from the book Exilée / Temps Morts by Theresa Hak Kyung Cha. On the left page, a bowl of cut up text. On the right page, the poem ‘Surplus Novel’.