Michelle received her Bachelor of Environmental Design in 1991 from Texas A&M University and continued on to study photography, video, and computer animation at Texas A&M's graduate program in Visualization. During that time she produced animated short films that were shown internationally in such venues as the Walker Art Center, the Dallas Museum of Art, and the Art Gallery of New South Wales. She has been an artist with Walt Disney Animation Studios for over 20 years.

In contrast to her work for Disney, her recent personal artwork is mostly analog, consisting of wet darkroom photography, collage, printmaking and encaustic. Thematically, her art seeks to find a narrative in the tension between the natural and the man-made. 

Born in Iran in 1962, Yari Ostovany moved to the United States at the age of 16 and pursued his studies in Art first at the University of Nevada - Reno and then at the San Francisco Art institute where he received his MFA in 1995. He was based in Cologne from 2000-2004, and since 2011 has been residing in the San Francisco Bay Area again.

Ostovany has worked, taught, traveled and exhibited extensively in the United States and internationally, and is the recipient of Sierra Arts Endowment Grant, Craig Sheppard Memorial Grant and Sierra Nevada Arts Foundation Grant. Recent exhibitions include Vorres Gallery in San Francisco, Haleh Gallery in Berg am Starnberger See, Germany, Thomas & Paul Gallery in London, UK and Aria Gallery in Tehran, Iran.

His work is in the permanent collections of institutions including the New Britain Museum of American Art in New Britain, Connecticut, Pasargad Bank Museum in Tehran, Iran, Permanent Collection of the University of Nevada - Reno Art Department as well as numerous private collections in the US, Europe and the Middle East and is represented by Vorres Gallery in San Francisco, MiM Gallery in Los Angeles, Gregory Mansfield Artist's Agency in Chicago and Art Represent in London, UK.

In 2008 his success as a contractor led to a major commission, the decorative restoration of the Royal Presidio Chapel in Monterey, California. This commission for the archdiocese upended his role as a contractor. Perhaps, in deference to his Catholic upbringing, he approached it as an artist should within a sacred space. It re-awoke in him the deep desire to make art, as he understood it. By 2010 Glenn closed the doors to contracting and devoted himself to the sacred within his being. With Denise’s complete support he re-entered the public arena; where his personal devotion to her naturally led the way to the greater transpersonal muse, who constantly inspires the true artist forward.

Within the last seven years Glenn has created a remarkably complex body of works shown in three separate groups. Separate: only in so far as time allows one step to appear independent from the others. We, collectively (artist and his spectators) climb towards what Marcel Duchamp refers to as…” the realm of Superior Aesthetics.” In Duchampian terms, if we follow, one step at a time, we are willingly lead to ”… a window beyond space and time,” where we find ourselves standing higher than when we began; thanking Glenn for reminding us that at it’s best ART elevates the human condition.

In following Glenn, we figuratively pick up the connecting thread of his interior dialog, much like the literal red thread mysteriously encountered in each of his three outings, it signifies the consistency of his intent and we acknowledge that in the final analysis intent is all. And like love, the thing itself.