Q&A with Micah Mickles

Briefly describe your thesis project.
My work delves into the themes of loss, memory, and healing through preservation. It was inspired by the sudden passing of my father, which left me without the chance to say goodbye. To cope, I started rebuilding the family archive using materials I discovered in my childhood home and secondhand stores. I worked with materials that have a rich history and explored the stages of awakening and letting go, reflecting on lives that were cut short. To honor my father’s memory, I created an assemblage called “Rayfield” using wood, mortar, and an array of encrusting materials. I infused them with newfound preciousness, drawing from African American traditions of memory jugs. This practice has helped me process grief, transforming pain into enduring artifacts. Through this remembrance ritual, I seek solace and reconciliation, forging a path toward healing and renewal amidst the dissolution of family ties. 

What do you hope someone feels when they experience your work?
Through my art, I hope to capture the bittersweet emotions of my inner child and bridge the generation gap within my family’s narrative. As I engage in a ritualized process of sublimating grief, I hope to inspire and bring comfort to others, showing them that healing is possible and that it is a transformative journey toward embracing life’s complexities without compartmentalizing sorrow. 

Did you always know this would be your final project? When or how did you figure it out?    I never imagined this would be my final project. It was a pivotal moment of reckoning, realizing I had to confront my pain or let it consume me. The 20th anniversary of my father’s passing served as a catalyst, propelling me towards this healing journey. 

What has been surprising as you’ve worked on this project?
One thing that has surprised me is how much outsider art has influenced my work. It’s also been interesting to see how much people talk about the relationship between high art and craft. What’s more, I’ve started to explore the art forms of my Black American heritage, and it’s been amazing to see how much it’s enriched my creative process in ways I never expected. 

How does your research interact with this project?   I’m conducting research on the historical context of creating memorials and outsider art, particularly in regions that are connected to my ancestry. My aim is to honor the memory of those who have passed away during times of turmoil. Additionally, I’m in therapy to explore the complex and multifaceted effects of grief on the body over extended periods.

By studying public archives, I’ve discovered that my father was a prominent figure in St. Louis, with a diverse career spanning politics, law enforcement, and business. This adds a layer of complexity and depth to my research. 

What was your path to becoming an artist like?   Throughout my artistic journey, I have explored various disciplines, incorporating elements from each into my creative process. Though I initially worked as a freelance assistant with fashion photographers in New York City, I eventually realized that my true artistic voice was not being fulfilled. This realization prompted me to shift my focus toward portrait photography and printmaking, which eventually evolved into my current focus on assemblage and sculpture.

Are there any faculty, courses, making spaces, or other WashU resources that have had a big impact on you?   While working at the grocery store, I interacted with Sage Dawson — senior lecturer, artist, educator, and community organizer — who inspired me to apply to the program. Crystal Z Campbell’s course on artists in the archive was extremely impactful, and the resources provided by the Kranzberg Art & Architecture Library and the Dubinsky Printmaking Studio were invaluable. They helped me transition to larger-scale printmaking, which aligned with my natural inclination to work on a grander canvas.