Through imagined scenes of everyday life, Micayla explores what it means for a person or object to be rendered transparent. Recumbent figures melt into the couches supporting them. Food set on a
table disassembles into the pattern of the tablecloth. Looking through and within objects in the foreground, the viewer sees glimpses of the spaces and patterns behind, allowing the picture plane to flatten and expand. Her work is semi-diaristic. The paintings draw upon her personal
life. Figures are intentionally anonymized and androgenized, however, their details hazy and faces often missing, so as to serve as ciphers for the viewer’s imagination. Through her paintings, she considers questions of (in)visibility, recognition, and transparency as they pertain to
queer experience, playing with the idea of the wall flower and making literal the notion of dissolving into one’s surroundings.

To create her paintings, she develops  an inner logic system governing the relationships between objects and their surroundings. Through this process, she explores methods of conveying states of transparency and fragmentation, such as through intersecting patterns or tonal shifts. Broadly, her paintings engage with optics, the limits of our fields of vision, and how the viewer of a painting can be brought within the work itself.