A Woman's Work is Never Done: Women in the Arts

Thiscatalogisanaccompanimenttotheexhibitorganizedand presentedbyUnboundVisualArts,Inc.

EditedandproducedbyUnboundVisualArts

ExhibitAssistants:JessicaHernandez,NatalieSchweikhart,ShuxianZhang,JingyiWang ExhibitCoordinator:JohnQuatrale

UVAMISSIONSTATEMENT

UnboundVisualArts(UVA)isauniqueAllston-Brighton(MA) basednon-profitartorganization.WeservetheGreaterBoston communitywithimpactfuleducationalprogramsandexhibitsto encouragelearning,engagement,andchange.

UVABoardofDirectors&CouncilofAdvisors

LouiseBonar,Tsun-MingChmielinski,FrancisGardino,MarcieLaden,MadelineLee,Jeanne Lin,SusanLoomis-Wing,BrendaGaelMcSweeney,AndreaNewman,Ira-IlanaPapadopoulou, JohnQuatrale,RuthRieffanaugh,DianeSheridan,KarenSmigliani,JenniferTurpin

Artists:NancerBallard,MaryBarton-Lech,MarissaBurns,ElleCox,ElizabethGeersLoftis, ElisandraLopes,MichaelaMorse,LisaMurphy,JenniferJeanOkumura,AdrianaPrat,Diane Sheridan,SusanSiefer,AndreaZampitella

Copyright2023UnboundVisualArts,Inc. Nothinginthiscatalogmaybereproducedinanymannerwithoutpermission,exceptforexhibit andartreviewsorothereducationalpurposes.

Curator’sStatement

Thisexhibitionwillinvestigatethemalleabledefinitionofwomen’sworkinthefield,inthe home,and,importantly,inthearts.Whilewomen’sparticipationinthelabormarketsteadily increasedinthesecondhalfofthe20thcentury,participationhasplateauedandevenslightly declinedaswemovethroughthe21stcentury.Further,women’sworkforcelabor(distinguished fromdomesticlabor)wasdisproportionatelyimpactedbytheCOVID-19pandemicasmore womenlostemploymentthanmenorremainedhometoprovidechildcareduringschool closures.Thesestatisticsandeventshavebeenmetwithcallsforincreasedaffordablechildcare resources,emphasisonpaidfamilyleave,andinitiativestoclosethegenderpaygap.According toU.S.SecretaryofTreasury,JanetYellen,viatheBrookingsInstitute,iftheobstaclesof underrepresentation,unreasonablework-lifebalance,andpaydisparitiesconsist,wewill squanderthepotentialofourcitizensandoureconomicgrowth.Sowheredoesthatleaveus?At thismoment,wheredowomenconceiveofthemselvesintermsof“work”andhowdowevalue thedifferentconceptionsofwomen’swork?

ManyrecentexhibitionsinthegreaterBostonareahavehighlightedtheworkofwomenartistsas wellasobjectsthatarespecificallydesignedforwomen’sworki.e.childcareanddomestic chores.Between2019and2021theMFABostonmountedtheexhibition Women Take the Floor. Drawinglargelyfromthemuseum’spermanentcollection,theexhibitionstrovetochallenge 20th-centurynarrativesbycenteringtheoftenoverlookedandunderrepresentedworkofwomen artists.OnviewthroughDecember18,2022theMassArtArtMuseumishostingtheexhibition Designing Motherhood: Things That Make and Break Our Births whichinvestigatesthematerial culturesurroundingcontraception,pregnancy,birthandbeyondallowingusawindowintohow women’srolesareconceivedofviadesign.Additionallywecontinuallyseemonographic exhibitionsdedicatedtowomenartiststhatquestionthecanonofartandinsertwomen’svoices intopoliticalandracialjusticediscoursesincluding Frida Kahlo: POSE attheRoseArtMuseum in2020and Sonya Clark: Monumental Cloth, The Flag We Should Know atdeCordovaSculpture ParkandMuseumin2021. A Woman’s Work is Never Done: Women in the Arts willjointhis ongoingconversationandwillassertthattheworkofwomenintheartstocarveoutanequal spaceisanongoingprocess.

Declaracióndelcurador

Estaexposicióninvestigaráladefiniciónmaleabledeltrabajodelasmujeresenelcampo,enel hogary,loqueesmásimportante,enlasartes.Sibienlaparticipacióndelasmujeresenel mercadolaboralaumentóconstantementeenlasegundamitaddelsigloXX,laparticipaciónse haestancadoeinclusohadisminuidoligeramenteamedidaqueavanzamosenelsigloXXI. Además,eltrabajodelafuerzalaboraldelasmujeres(quesedistinguedeltrabajodoméstico)se vioafectadodemaneradesproporcionadaporlapandemiadeCOVID-19,yaquemásmujeres perdieronelempleoquehombresopermanecieronencasaparacuidaralosniñosduranteel cierredelasescuelas.Estasestadísticasyeventossehanrespondidoconpedidosdemayores recursosasequiblesparaelcuidadodelosniños,énfasisenlalicenciafamiliarpagaeiniciativas paracerrarlabrechasalarialdegénero.SegúnlaSecretariadelTesorodelosEstadosUnidos,

JanetYellen,atravésdelInstitutoBrookings,sipersistenlosobstáculosdelasubrepresentación, elequilibrioirrazonableentreeltrabajoylavidaylasdisparidadessalariales,desperdiciaremos elpotencialdenuestrosciudadanosynuestrocrecimientoeconómico.Entonces,¿dóndenosdeja eso?Enestemomento,¿dóndeseconcibenlasmujeresentérminosde“trabajo”ycómo valoramoslasdiferentesconcepcionesdeltrabajodelasmujeres?

MuchasexposicionesrecienteseneláreametropolitanadeBostonhandestacadoeltrabajode mujeresartistas,asícomoobjetosdiseñadosespecíficamenteparaeltrabajodelasmujeres,es decir,elcuidadodelosniñosylastareasdomésticas.Entre2019y2021elMFABostonmontó laexposiciónWomenTaketheFloor.Basándoseengranparteenlacolecciónpermanentedel museo,laexposiciónseesforzópordesafiarlasnarrativasdelsigloXXalcentrareltrabajode lasmujeresartistas,amenudopasadoporaltoysubrepresentado.Enexhibiciónhastael18de diciembrede2022,elMuseodeArteMassArtpresentalaexposiciónDesigningMotherhood: ThingsThatMakeandBreakOurBirths,queinvestigalaculturamaterialentornoala anticoncepción,elembarazo,elnacimientoymásallá,loquenospermitevercómoseconciben losrolesdelasmujeres.víadiseño.Además,vemoscontinuamenteexposicionesmonográficas dedicadasamujeresartistasquecuestionanelcanondelarteeinsertanlasvocesdelasmujeres enlosdiscursospolíticosydejusticiaracial,incluidasFridaKahlo:POSEenelRoseArt Museumen2020ySonyaClark:MonumentalCloth,TheFlagWeShouldKnowenelMuseoy ParquedeEsculturasdeCordovaen2021.Eltrabajodeunamujernuncasetermina:lasmujeres enlasartesseuniránaestaconversaciónencursoyafirmaránqueeltrabajodelasmujeresen lasartesparaforjarunespacioigualitarioesunprocesocontinuo.

Curator’sBiography

PaigeMor is Boston-areamuseumprofessionalandscholarinarthistory.Herwork curatingexhibitionsandcreatingmuseum programmingiscenteredonfacilitatingconversation aroundequityandinclusion.Paige’sresearchinterests includemodernandcontemporaryLatinxart,feminist theory,andchallengingthehistoryofexhibitionand interpretationofartininstitutions.Paigeearnedher bachelor’sdegreeinarthistoryfromtheUniversityof Connecticutin2015andhermaster’sdegreeinart historyfromtheUniversityofMassachusettsAmherstin2019.SheistheCoordinatorofPublic ProgramsattheMuseumofFineArtsBoston.Paige haspreviouslyworkedwithTheSpringfield Museums,Now+There,TheMarkTwainHouse& Museum,andFivePointsCenterfortheVisualArts.

BiografíadelCurador

PaigeMoreauesunagranprofesionaldemuseosdeláreadeBostonyestudiosadelahistoriadel arte.Sutrabajodecuraduríadeexposicionesycreacióndeprogramacióndemuseossecentraen facilitarlaconversaciónsobreequidadeinclusión.LosinteresesdeinvestigacióndePaige incluyenelartelatinomodernoycontemporáneo,lateoríafeministayelcuestionamientodela historiadelaexhibiciónylainterpretacióndelarteenlasinstituciones.Paigeobtuvosu licenciaturaenhistoriadelartedelaUniversidaddeConnecticuten2015ysumaestríaen historiadelartedelaUniversidaddeMassachusetts-Amhersten2019.Escoordinadorade programaspúblicosenelMuseodeBellasArtesdeBoston.Paigehatrabajadoanteriormente conTheSpringfieldMuseums,Now+There,TheMarkTwainHouse&MuseumyFivePoints CenterfortheVisualArts.

Artwork

NancerBallard, Women’s Work is Never Done, Multimedia, 21 x 17 inches

MaryBarton-Lech, Getaway, Mixed Media on canvas, 16 x 20 inches

MaryBarton-Lech, Out the Window, Mixed Media on canvas, 20 x 16 inches

MaryBarton-Lech, Across the Park, Mixed Media on canvas, 18 x 24 inches

MaryBarton-Lech, Evening Crosswalk, Mixed Media on canvas, 11 x 14 inches

MarissaBurns, The Gaze, Acrylic Paint and Mirror, 35 x 25 inches

ElleCox, I Do Not Work For You, Digital Photography, 19 x 13 inches

ElizabethGeersLoftis, The Women’s Boat, Watercolor and Oil Pastel, 24 x 30 inches

ElisandraLopes, WomanintheArtField, Color Pencils and Black Ink, 14 x 11 inches

MichaelaMorse, Post-conversation: Time to clean up, Installation and fabric, 10 x 14 inches

LisaMurphy, 4 Hands, Acrylics, 36 x 30 inches

LisaMurphy, Love, Acrylic and Collage, 24 x 18 inches

JenniferJeanOkumura, Self Awareness, Oils on canvas, 48 x 36 inches

AdrianaPrat, Homage, Mixed Media on canvas, 12 x 12 inches

DianeSheridan, Apron 1, Mixed Media and Collage, 8 x 6 inches

DianeSheridan, Apron 2, Mixed Media and Collage, 8 x 6 inches

SusanSiefer, Hanging in Solitude, Mixed Media, 28 x 21 inches

SusanSiefer, Bound, Woven, Cut Mixed Media, 40 x 24 inches

SusanSiefer, Remembrance, Mixed Media, 50 x 18 inches

AndreaZampitella，

Grocery Store (from Wearing the House)

Digital Photography 8 x 10 inches

AndreaZampitella, Playground

(from Wearing the House) Digital Photography

8 x 10 inches

AndreaZampitella, Lugging

(from Wearing the House)

Digital Photography

8 x 10 inches

AndreaZampitella, Carrying Weights Through Suburbia Video

6:52

AndreaZampitella, Building the Nest, Digital Photography

8 x 10 inches and Accompanying Video (10:33)

AndreaZampitellaandMonica Mitchell, Happy Homemaker, Video

3:23

Art in this exhibit may be purchased by visiting the gallery or going to the Unbound Visual Arts online art Shop (link below)

ArtistStatementsandBiographies

1.NancerBallard:

WhenIrstbegantoconsiderthetheme,“AWomen’sWorkisNeverDone,”Ithoughtofthemultitudeof socialcauses–environmentaljustice,racism,sexualviolenceagainstwomenandLGBTQ,etc –onwhichI’ve workedandmadeartformostofmyadultlife,issuesinwhichprogressseemssoslowandtheworkendless. Sincewomen’sworkandartisdailyandvaried,itseemedappropriatetorepresentsomeofthesethemes,andart mediawithwhichIhaveworkedovertheyears(includingcollage,painting,photography,penandink,book arts,sewing),asacollectionofcoeecups.AsIbegantowork,Irealizedthatthefactthatwomen’sworkisnever donealsomeansthattheworkofwomenisneversuperuous;itisalwaysnecessaryandessential Becauseour workisneverdone,thereisalwaysspaceandreasonfornewvisions,morelearningandexperimentation,new expressionsofpurposeandcauseforrevision Itsuggeststhatthehumanandartconversationisneveroverand thateveryendingoersanotherportaltoexplore

Bio:NancerBallardisawriter,poet,andvisual/bookartist,andisanAliated ScholaratBrandeisUniversityWomen’sStudiesResearchCenter.Sheistherecipient ofthe2016Juror’sChoiceAwardandthe2013Librarian’sChoiceAwardinthe BostonPublicLibraries’BeyondtheBookexhibitions Herrecentworkhasbeen exhibitedattheAttleboroArtsMuseum,ZulloGallery,BrandeisUniversity,Boston CityHallandisincludedinanongoingoutdoorexhibitionattheformerMedeld Hospitalsite ShehasparticipatedinseveralpreviousUnboundVisualArtsexhibitions andleadsTheHeroine’sJourneyandBeyondProject,awebsite-blog-multi-media projectthatexploresanddocumentslife-armingalternativestotheHero’sJourney.

2.MaryBarton-Lech:

Iamalifelongartistwhospent20yearsteachingandbeinginspiredbypublicschoolstudentsingradesK-12. Mycurrentworkhaslayersofacrylicpaintandfabriccollage Thepaintingsetstheinitialtoneandinspiresa drawingonfabric,whichisthencutoutandappliedtothecanvas Iloveworkingwiththestructureofthis process Iaminconstantdialoguewiththework,andenjoyjuxtaposingpaintingwithpreciselydrawnandcut fabric Ihesitatedtousefabricatrst–fearingitwouldbetoo"cutesy",butIcouldnotgetpasttheurgetouse it.IthinkofmymotherasIchooseandworkwiththefabric.Shespentcountlesshourssewingouttsforher vedaughtersaswegrewup,andalwaysencouragedustocreateinourownway.Myhopeisthatmyworkwill resonatewithsomeoneelse–perhapsevokeamemoryorawish.

Bio:

Education

MassachusettsCollegeofArt,BFA,1982

EndicottCollege,MEd,Arts&Learning,2006

Employment

VisualArtsTeacherfortheBillericaPublicSchools,2001-2021 Exhibitions

EndicottCollege2007,2012

BelmontGalleryofArt2010,2012

DanforthArtMuseum2011

MontserratCollegeofArt2016,2017,2018,2020

3.MarissaBurns:

Themirrorissymbolicofselfreectionaswellasmotivation,butalsoholdsthepressuresofsocietalnormsand beingforcedtolookacertainwayforthecorporateworld.Inthisenvironmentwomenarerarelyinplacesof power IhaveworkedinthecorporatespaceforclosetoadecadeandPrivateEquityisaseverelymale-dominated industryandoneofthewealthiestcareerpathsintheworld ScanningthroughPrivateEquitysitesyouwillsee thatthereisaseaofmostlymen Menaretheonesinmanagementpositionsandmakingmostofthedecisions Inthepastmenwrotethecompanyhandbooks,dresscodes,andthe9-5workschedules.Theycontinuethis traditiontoday,andhavethelastsayinmostocesaroundthecountry.

Inordertoworkfortheserms,womenareexpectedandoftendictatedtolookacertainwaywheninabusiness setting.JohnBergeroncesaidinWaysofSeeing,“Shehastosurveyeverythingsheisandeverythingshedoes becauseofhowsheappearstomen...Herownsenseofherselfissupplantedbyasenseofbeingappreciatedas herselfbyanother.”

Whensmooth,water’ssurfacehasamirroreect.Womendeservetohavethepowerofwater.Theyhavethe righttobepowerful,erce,andunforgiving Thispieceistocommemoratetheworkingwomenofthepast,the strugglestheyhaveendured,andthevictoriestheyhavewonforfuturegenerations

Thispieceisforwomentotakebackthegaze

Bio:MarissaBurnsisapainterlivingandworkinginBoston, Massachusetts ShehasstudiedattheArtStudentsLeagueinNewYork, andreceivedherBAfromWellsCollegein2013 Herrecentexhibition historyincludesBGalleryattheMillContemporaryArt,MarrionGallery, 22NorthGallery,andEssexArtCenterGallery.

4.ElleCox:

Acryinggirltiesknotsinhercoilsandstaresinhermirror.Herhairiskinkedandmatted,withrubberbands stuckwithstaticelectricity.Withamelaninatedhand,shegrabsaholdofherknotandripsitfromherhead. Withascream,shereaches–

Acryinggirl,sippingkoolaid,leaningbackwithhoodoosmoke,lookshimintheeyesandsays,“No"

IamaBlackwomanthatfeels.Ifeelpainformypeopleandpainformyself.Sittingrightagainsttheedgeof climax,Istepinsidethatuncomfortablelandscapeofobjectication,commodicationoftheblackfemalebody, andviolentsexuality.Withaglance,yourevelinmybeauty,yetaremetwiththeuncomfortablefateofbeingin controlofme Fromthisuncomfortableduality,myworkisacommentonsexuality,pain,realization,and ownership

Steppingintoacrowdofhoodedfacesofillusionarypearls,sheclapsherhandsagainsthypocrisy.Singingslave spiritualsanddrinkinglemonade,shekissestheair.Herhairwhipsagainstthefacesofheroncedominators, screaming,“AndhereIam!”

Throughphotographyandperformativeworksandusingmyselfasmysubject,Istepoutsidetherealmofthe watcherandallowdominationtoovercomeme.OnlythroughthephysicalconnectiontothesueringcanI recognizemyidentity.Thisidentity,whichisajourneyoffeminismandBlackness,followsthelifeofthatcrying girl.

Acryinggirl,wipingawaytears,singslullabiestoAfrica,tyinggoldintohernaps

Bio:FromheryouthinHouston,Texas,ElleCoxhasfollowedthepathofan artist.Elle’spassioninwritingandtheaterprogressedtovisualartswithher acceptancetotheHighschoolforPerformingandVisualArts,whereherart careerbegantoourish EllehasshownworkintheContemporaryArts

MuseumofHouston,theJungCenter,theCommunityArtists’Collective Gallery,YoungArtsaliatedexhibitionsinMiami,theKennedyCenterinDC, andhasworkownedbyacclaimedArtcollectors.Sheisa2017YoungArts

FinalistandUSPresidentialScholarinVisualArtsandiscurrentlystudyingArt andPsychologyatLafayetteCollegeinEaston,PA. Herpersonalartistwebsiteisellecox.weebly.com

5.ElizabethGeersLoftis:

Foralmostthirtyyears,Iaccompaniedmyforeignservicehusbandaroundtheworld,givingmetheopportunity tocreatemyartindiverseandintriguinglocales.ButitwasthecolorsandimagesofsouthernAfricawhich inspiredmemost.Ilovepatternsandshapesformedbycolor.Natureismymuse,andIfoundanever-ending supplyofsubjectsinthepeople,animals,clothes,baskets,andlandscapeofAfrica Oflate,Ihavebeeninspired byNativeAmericanWomenandtheirmagnicenthomelandsofwesternNorthAmerica Withthesewomen,I liketotellstories:manytimeswhimsical,sometimesfantastical,andoftentimesbrooding

Bio:

1975-1979-StudiedartatColoradoStateUniversity

1989-1991-AttendedartclassesinWellington,NewZealand

2000-2004-WhilelivinginMaputo,Mozambique,beganusingmyoil pastel/watercolor-resisttechnique.Startedshowingandsellingwork.

2004-2013-Workedasafull-timeartistinFallsChurch,Virginia.Received numerousawardsincluding"BestofShow"attheArtLeagueGalleryatthe TorpedoFactory,inAlexandria,VA;Received"BestofShow"awardatFalls ChurchArts;DisplayedworkatjuriedshowsthroughoutNorthernVirginia

6.ElisandraLopes:

Capturingsimplicity,color,andtextureiseverythingforme.AsanIllustrator/Designerthesethreecomponents havealwaysbeenwhatIlookforwhenIcreatenewartwork It’smyinspiration Thisartworkrepresentsmy ownversionofhowIhavebeenemergingasblackwoman,caretaker,artist,andtherapistduringthispandemic, theresponsibilitiesIhad,andstillnotbeingappreciatedintheeldofartasmuchasmeninmyfamilyand societyareappreciated Thewomaninthepaintingrepresentsmewearingacosmichatwithheavyplanetsthat symbolizeallthetasksIhadtoencounteralongthisjourney.ThecracksontheplanetssymbolizehowIwas impactedbyCovid-19andtheemptyplanetsrepresentthelackofsupportIdidnotgetintheartseldandhow Istillhadtoworkextrahardtoachievesomesuccessintheeld.Thestarsinthis artworkrepresenthowIwasstillabletondlightandhopeduringdarktimes. Creatingthisartworkmademerealizehoweventhoughoursocietyisevolving, thereisstillsomeworktobedoneespeciallyintheartseldforthewomen population

Bio:IamaCapeVerdean/Blackartistwhoseworkdrawsinuencefromeveryday life,mentalhealth,environment,andnature.Iworkmostlywithcoloredpencils, watercolor,anddigitalartaswellwhilehavingtheheartformakingcollages I immigratedfromCaboVerdein2007totheUnitedStatesofAmericatopursuea bettereducationandhealthservices Afteraroughjourneyfacingnancialissues, inequalityandabuseofpowerfromdominantgroups,Icontinuedandnished myeducation.In2016,IearnedmyBFAinIllustrationfromLesleyUniversity CollegeofArt&Design.Iplantohavemoreofmyworkdisplayedonlineandingalleryexhibitions.Ialready hadsomeofmyartpiecesdisplayedingalleriessuchastheartworkrelatedtoimmigrationweredisplayedinthe Crossing/BordersExhibitionatParker’sGalleryinUniversityHall,Cambridge,MA.Irecentlybecametherst womaninmyfamilytograduateLesleyUniversityGraduateSchoolofArts&SocialSciencesandearnedmy masterinclinicalmentalhealthcounselingandarttherapyanddofreelanceillustrationanddesignworkonthe side

7.MichaelaMorse:

MichaelaMorseisaninterdisciplinaryartistwhoseekstolistendeeplyandrespondcarefullytopeopleand materials Sheworkswithbers,organicmatter,repurposedobjects,educationalmaterials,photographyand digitalprocessestoinvestigatehowideasintersect Acommonthreadinherpracticeisconsideringthewaysin whichweareintertwinedwithotherbeingsacrossgreatersocialandcultural exchanges.Fromresearchtofabrication,Michaelastrivestopracticeamore world-centeredwayofthinkingandreectrigorouslyonthecontemporary challengesoflivinginanout-of-balancebiospherethatispushingback,calling usintorelationshipsinwhichthelivelihoodsofallentitiesarealwaysalready inextricable

Inthework"Post-conversation:Timetocleanup",Michaelashreddedthe fabricscrapsofgarmentsmadeduringyearsworkingasaseamstressandapplied handmadepapertechniquestocreateplacesettingsforinvitingotherstochat abouthowshemightmovetowardsaconceptualartpractice.Despite combiningavarietyoftextiles,theplacematsandnapkinsallturnedoutpink.

Ultimatelyafterthelaborofpulpingthebers,settingthetableandbrewingadrinktoshare,itisinconclusive whetherthecrumbsandstainsthatremainledtoanythingmorethananothermesstocleanup.

Bio:MichaelaMorsehasaBFAinStudioArtandaBAinInterdisciplinaryStudiesfromtheSchoolofthe MuseumofFineArtsatTuftsUniversity Herworkincludesestablishingapollinator-friendlygardenwitharts programmingattheSMFAandtheongoing"mydriedhotdrinks"series,whichreectsonaninwardresponse totheclimatecrisis Shehashostedworkshopsandlecturedonherworkwithpollinators,materialityand documentation.MichaelahasshowninexhibitionsandjuriedshowcasesattheUniversityofMinnesota,Tufts UniversityandHarvardUniversity,andisamemberoftheInspiringChangefortheClimateCrisisArtists Group.Sheworksasacommunicationsspecialistandvisualdesignerandenjoysconnectingwiththebody throughadailyyogapractice.

ImakeartthatreectsmyidentityandemotionsasItravelthroughdepressionandanxiety.MyBlackness,my gayness,andmyfemalenessshapethelensinwhichIseetheworld.Idesiretocreateimages,colors,andoutlines thatexpressmyfeelingsandexcitemyeyes.Colorswinmeovereverydayandgivemeareasontocontinueto putideastocanvas,paper,andboard.

“4Hands”isanacrylicworkexpressingsomeoftheinternalstrugglesIfacedaily Communicationwith commonhandgesturesissomethingIdounconsciouslyeveryday Iwantedtobringthatintotheworkwith MorseCode Dashesanddotsholdagreatdealofpotentialincommunicatingvisuallyandaudibly I’vemade printsthatIfeelarerelevanttothehandgestureasbackground.ThefourhandsinclockwiseorderspelloutPUNCH,PREY,POWER,andPEACE.

“Love”isanacryliccollageworkwithMorsecode.Theoralpicisoneofmyaunt’sazaleas,andIalsohavea repeatingpatternasbackground.Themodellooksforwardintoherfuture.Sheisinlovewiththedreamofwhat issuretocome.Themorsecodespellsout“LOVE”.IwantpeopletoknowmoreaboutwhoIamandwhatI feelthroughcolorandexecution Ihopetheycanenjoymyattemptsatmakingandlearning

Bio:

Education:

ReliefPrintmaking,MuseumofFineArts,Boston,MA 2022

ArtistStudioClass,BrooklineAdult&CommunityEducation,Brookline,MA 2019

ArtistOpenStudio,LesleyUniversity,Cambridge,MA 2018-2020

ArtistStudioClass,BostonCenterforAdultEducation,Boston,MA 2018

ArtistTrainingProgram,GatewayArts,Brookline,MA 2018

ArtistOpenStudiosClass,BURecoveryEducationProgram,Boston,MA 2015-2022

ArtistStudioClass,BostonCenterforAdultEducation,Boston,MA 2017

CourseraCerticate,OnlineCourse,MOMA-ModernArts&Ideas,NY,NY 2017 B.A.English,EmmanuelCollege,Boston,MA1994

Exhibitions:

StudentExhibition,BURecoveryEducationProgram, 2023 ArtWaveGallery,“ShowUSYourArt”, 2023 Watertown,MA ArthausGallery,“ArthausHolidayMarket”, 2022 Boston,MA FortPointArtCommunity,“AnnualMembersShow”, 2022 Boston,MA BostonCityHallArtsandCulture,“FayChandlerEmergingArtistsandAwardsShow”, 2022 Boston,MA

MuseumofFineArts,“PortraitsofLeadership”, 2022 Boston,MA AttleboroArtsMuseum,“Reframed”, 2022 Attleboro,MA ArtWaveGallery,“TinyArtsShow”, 2022 Watertown,MA

SpeakingEngagements: ArtLiftingandHarvardBusinessSchool,“DisabilityisDiversityPanel”2022 Cambridge,MA

ArtWaveGallery,ArtistTalk Panel 2022 Watertown,MA

8.LisaJayneMurphy：

9.JenniferJeanOkumura:

MymomlovedtosharequotationswithmeasIgrewup,especiallytheonebyMargaretMead:‘Neverdoubt thatasmallgroupofthoughtful,committedcitizenscanchangetheworld;indeed,it’stheonlythingthatever has’Today,myfamilyandItakegreatprideinbeingourselves IamcomfortablewithwhoIam Mysuit(skin) isinbrilliantcolor Whatsuitisyours?

Bio:Artandbeinganartistaretherapyforherphysically,psychologically,and spiritually MineNOWreectsherdualBuddhist-Catholicheritage Herwork frequentlyexplorestherelationshipbetweenhumans,nature,andobjects She thinksofartasanobjectivehomagetoherEasternandWesterntraditionsand therawarchitectureandsoundsofthecity addingconict,balance,and harmonytoshapeherwork’sformandenergyinherconstantsearchfornew noiseandpassion.OkumurahasrelationshipswithgalleriesinManhattan, Westport,Boston,andCharlestonandexhibitedatSwissArtExpoZÜRICH, ArtMetropoleEuropeBarcelona,SpainUrbansideGallery,RedDotMiami, ArtexpoNewYorkArtFair

10.AdrianaPrat:

IhaveoftenwonderedwhatmakesmethewomanIam:immigrantlivingintheUS,borninArgentina,whereI becameanacademicallytrainedscientist,andwhorelativelyrecentlytransformedintoafull-timeartist,after decadesofintenseworkintheacademicandbiotechworld.

Mymotherwasahard-workingseamstressdevotedtomakingone-of-a-kind,hand-madegarmentsforclients, includingweddingdresses:herfavoritecommissions Shewasalsoveryconservative,andforasignicantpartof mylifeIworkedagainstherclosed-mindedattitudetoshapemyownidentity,tryingtosortmyowndecisions amongallofherextremelystrictmandates

OnceIsetascienticcareerandhadtoestablishalifeinadierentcountry,thepathtoself-discoveryandtrue vocationwasintricateandlongerthanexpected Iamgratefultomyhard-workingmotherwho,despiteher traditionalprejudicesandgender-rolebeliefs,wasanessentialinspirationregardingthevalueofhardworkand whoneverdoubtedmyabilitytoaccomplishgoalswhenIsetmymindtothem.My“Homage”goestoher. Thusthisisanhomagetomymother’snobleprofessionandmyprofoundloveandgratitudeforher,addingmy ownboldvariationonafabric,scrapfrommymother’sshop,mychildhoodhomeinArgentina,thatwould haveotherwisebeenforgottenforeverinadrawer

Bio:AdrianaG Pratisanacademically-trainedscientistturnedabstractartist andcuratoronaquesttoinspireactionfortheenvironmentalcrisis Shehas exhibitedatgalleries,academicinstitutions,artcenters,museums,openstudios, andalternativespaces,inArgentina,andtheUS,mostlyinthegreaterBoston area.ShehasalsoshowningalleriesinReykjavík,Iceland,andLondon,UK. AdrianaisamemberoftheNationalAssociationofWomenArtists(NAWA), theExperimentalGroupoftheRockportArtAssociation&Museum,andthe SoWaArtistsGuild,amongothers ShewasthecuratorforUVA’s“Inspiring ChangefortheClimateCrisis” Herpersonalartwebsiteiswwwagpratcom

11.DianeSheridan:

Mymom’smottowouldbe“awoman’sworkisneverdone,nowputonanapron”.Shealwayshadherapron on Sheevenputitonwhenshebroughtworkhome Shewasabookkeeperandwouldsitatthetablewithan aprononnishinguptheday’swork Myfavoritememorythoughiswhenshewasinthekitchenstandingby thestoveorsinkcookingameal Mymomwasahardworkingwomanandshealwayshadanapronon Iloved heraprons Becauseofthis,anapronrepresentsstrengthandcreativitytome–wordswhichalsobeautifully describemymother.

Thismakesitveryeasytodepictapronsinmyartwork Itisjoybringingtheapronbeyond thekitchenandintocollageelementsworkingwithlayering,color,andpattern Icombine historyandrecollectiontorecordspecialmemories

Bio:BachelorofFineArtsfromFraminghamStateCollegeconcentratinginArtHistory andPhotography

WorkedattheMuseumofFineArts,Boston,BostonUniversityPhotoServicesand HarvardMuseumofNaturalHistory. Associatedwithareaartorganizationsincluding UnboundVisualArts,AllstonOpenStudios, PhotographicResourceCenterandTheGrinMuseumofPhotography.

12.SusanSiefer:

Beinganartistisnotforthefaintofheart Itcanbeisolating,frustrating,andoftenanancialstruggle My choicetopursuemyartinalong-termcareerinvolvesallofthatbuttherewardshavebeenrichandtremendous. Beingamakerhasgivenmealifelledwithknowledge,curiosity,freedom,travelandthesheerjoyoflookingat ablankcanvasoraskeinofthreadsandbeginninganew.Itisexcitingandterrifyingandhopeful.ThatiswhyI havecontinuedmylongcareerasanartist,painter,weaver,decorativepainter,costumedesigner,goldleaf restorer

Iopenthedoortomystudio,threeightsupinanoldtextilemill.Facingablanksurfaceisanopportunityto relayvisualstories. Theprocessbegins.Scumbling,troweling,burnishing,buildinguplayers,eachlayerwitha storytotellasinoldwalls,rugs,memories.Myworkhasalwaysbeenastatementof“women’swork”,andthe connectiveworkofwomen Inmycurrent“MaterialGirls”Series,Igivethefeminineformtheirownidentity,to betheirownimage Thesenewerpiecesaredecorative,soulful,sometimesragged Iinvitetheviewertointerpret theirownrecollectionofthestrongwomenandpersonal,emotionalandsocialexperiencesthathavepavedthe waytowardstheirownidentityandfreedomtochoose Asinwarpandweft,wendthecommonthreadsthat bringustogether.Althoughwehaveworktodo,Iamabelieverintheconnectionthatartmaybring.

sanSieferisapainterandtextile-basedartistworkingoutofherstudio ham,MA.ShestartedherartcareerasasculpturalweaverinDetroit, an.ShereceivedherBAinFineArtandanMFAinTextileDesignand gatWayneUniversityin1974.Susanspentmanyyearsasasurface r/decorativepainter,paintingandtrowelingwallsandceilingsfora llowingofresidentialandcorporateclients Shecurrentlyincorporates ganddecorativeplastersintoherpaintingandsmallsculpturepractice

13.AndreaZampitella:

AndreaZampitella’sworkplacesusbetweenthebanalityofdomesticityandtheintimacyandvulnerabilityof becomingamother Zampitellandsthatherlifehasbecomeabalancingact,fullofmomentsofchaosand calm,andthatelementsinherartareunnished,contortedandexistentiallyconsumingwhilesheattemptsto harmonizethem ThroughvariousmaterialsZampitellaexploresthenelinebetweenrealityandtheunknown, oftentimescombiningdesperatethingsinordertocreateconceptualmetaphors Inthepastthesepieceshave rangedfrombuildinganest,meanttorepresentsafetyandstabilitywithdangerouspowertoolstotheeortof blowingupballoonstothepointofexhaustionwhileanoutsideforcecontrolsitsfate.Zampitellahasanagging desiretopositionherselfinaplaceofinstability,toworkthroughnewchallengesandtogrowintheprocess. Herworkspeakstoimperfection,perseveranceandpatience;creatingandbirthingnewlifehaschallenged Zampitellatotransformherartisticlifeinahopefulnewbeginning.

Bio:AndreaZampitellaattendedtheMassachusettsCollegeofArtwhereshe earnedaMFAinInterdisciplinaryStudies,aBachelorofFineArtsinArt EducationandStudioforInterrelatedMedia(SIM)andaminorinSmall Metals.