Michelle Lynn Dyrness’ exploratory work of anthropomorphic form often combines the handmade with digital processes. Initial studies of clay modeling and/or gouache painting are then photographed and digitally manipulated to create illusory and suggestive imagery, such as in the series No Place on Earth. In the series Prospero’s Cell, Cyanotype prints created with clay forms are photographed and then digitally layered before a final print is made. Disassembling and assembling increasingly fractured pieces challenges notions of what is viable. Intuition and accident are refined until provocative forms emerge. The recognizable is subject to the viewer's imaginative interpretation, where what is seen can reflect back to us a familiar yet widening perspective on the body and our own elemental presence on this earth.