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Zena Holloway

Sea fan root sculpture and me 2022

wheatgrass, seaweed, water.

Holloway is a bio-designer/sculptor who grows her works from grass root. Her works speak to sustainability and our connection to water. I am interested in working in organic materials such as grass and coral, and the way time and environment are invited into the collaboration of the work. This piece took years to grow, and invites appreciation for the natural process of the work.

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Alves, Maria Thereza. “Seeds of Change”. Seeds, earth and organic matter, 2012-present. Bristol, southwest England, In Art & Ecology Now, by Andrew Brown, 138-141, New York, New York: Thames & Hudson, 2014

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Turner, Cathy. Dramaturgy and Architecture Theatre, Utopia and the Built Environment. 1st ed. 2015. London: Palgrave Macmillan UK, 2015.

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Plumwood, Val. 1993. Feminism and the Mastery of Nature. London, New York: Routledge

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Pink, Sarah, Kerstin Leder Mackley, Roxana Moroşanu, Val Mitchell, and Tracy Bhamra. Making Homes : Ethnography and Design. Abingdon, Oxon ; Routledge, Taylor & Francis Group, 2020.

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Irish, Sharon, and Suzanne. Lacy. Suzanne Lacy : Spaces Between. Minneapolis: University of Minnesota Press, 2010.

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Hjorth, Larissa, Sarah Pink, Kristen Sharp, and Linda Williams. Screen Ecologies : Art, Media, and the Environment in the Asia-Pacific Region. Cambridge, Massachusetts: The MIT Press, 2008.

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Jens Kothe

stressed membranes VII // the chipped one 2021

cushion, fabric, wood construction, transparent varnish, nails, staples, acryl, pigments, velvet, stretch foil, silicone, epoxy resin, nfc chip

Photography: Ben Hermanni

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Alicja Kwade

“Art is the Anecdote” Exhibit

Aswivelstoolisaswivelstoolisaswivelstool 2018

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Haraway, Donna. 1988. “Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective.” Feminist Studies 14, No. 3 (Autumn 1988): 575-599.

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Decter, Leah. 2021. “Walking Unsettling Depremacy: A Preliminary Proposition for Questioning the Right to Go Anywhere”. Qualitative Inquiry 28, No. 2 (Special Issue 2022): 187-197.

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Best, Susan. 2016. Reparative Aesthetics: Witnessing in Contemporary Art Photography: Guilt and Shame Current Debates in Affect Studies. Bloomsbury Publishing Plc.

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Barbara Hepworth

Pierced Round Form 1959

bronze and wood

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Karin van der Molen

Earth Tunnels 2022

Taken inspiration from Nancy Holt’s work, Sun Tunnels, fellow land artist Karin van der Molen created her Earth Tunnels for the urban environment. Inviting the public to come take a rest in these concrete tunnels, the work is site specific and meant for engagement. Both interest with Environmental Art and Public Art, I found these works captivating and playful, and acknowledges the female land artists of the past and present.

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Renata Rara Kaminska

THE RAG 2022

Renata Kaminska’s recent a solo exhibit, THE RAG, focuses on freedom of speech. In her various works, she uses mediums such as wood from farmer colonial countries to urban concrete. She asks the question, “whose property is the public space and which of its part belongs actually to me?” The concept of collective memory and public/private discourse via both physical space and forms of communication is of high interest to my own practice. As I engage in public space and critique the accessibility of said publics, works such as these offer significant food for thought.

Photos by: Bartek Górka

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Gisela Colón

Parabolic Monolith (Supernova) 2022

aurora particles, stardust, radiation, intergalactic matter, ionic waves, organic carbamate, gravity and time, (left).

Ultra Spheroid (Lyra) 2022

blow-molded acrylic (right)

These sculptures are from Colón’s most recent exhibit, “The Feminist Divine”, shown through SCAD Museum of Art in Savannah, Georgia.

Her pieces are transcendent, transformational works, which I found myself gravitated to for their structure and embodied form. Often masculine forms, Colón has taken the erected sculpture form to a feminine rhetoric I find powerful. More on her work can be found below..

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Jéssica Costa

Access to the Intimate 2022

Brazilian fiber artist, Jéssica Costa’s textile work utilizes tapestry as “an extension of a body that as an organism invaded and occupies the architecture of the space in a way to extrapolate an infinite and feminine subjectivity”.

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