"Jules's painting practice stems from an interest in place and in particular architectural references give a strong spatial order to her paintings. Block-shaped forms define the verticality or horizontality of almost abstract compositions, painted often against single coloured backgrounds. These fragments or forms suggest walls of mass concrete and are evocative of Brutalist architecture or abandoned ruins. Jules speaks of the redundant or decrepit appearance of the infrastructure - small jetties, steps into lake water, cement walls - that she comes across on her walks through the landscape. Her paintings transmit a sort of mystery of eradication. In a new painting she showed me, the bare bark of two trees is derived from steel structures she has seen on office buildings. As a result, there is a sense of slippage between a rural and an urban context in the work. While clearly she is concerned with the language of painting, her capacity to capture a certain melancholic presence, that we might hold within our own memories, and project onto certain landscapes or the uncared for things in the world is striking, uncanny."

Cliodhna Shraffrey
(extract from her 2016 essay The Possibilities of Place for the 9 Stones Artists ten year anniversary publication)

James Merrigan #Shitlist 2015

"I don’t know what it is about Frawley’s shop in Dublin's Thomas Street, this year’s home of NCAD’s Masters Graduate exhibition, but the four painters just chime in the space. Jules Michael’s abstracts are caught between a rock and a hard place, suggesting envelops of heavy masses, streetscapes populated with banks perhaps, that are folding in on themselves like paper money."