Exposition à venir à la Ceres Gallery, 547 W 27th St #201, New York, NY 10001
KELYNN Z. ALDER
Vilma & Yeisvi Carrillo, 2020 Etching and monotype on paper 32”H x 26”W
My Mexican mother and grandmother experienced many demeaning prejudices when they immigrated to United States. Yet, they were never forcibly separated from one another. Today there are thousands of immigrants who’ve suffered the indignities of being separated from their families. Vilma Carrillo’s daughter, Yeisvi was taken away at the border and put in foster care while Vilma, who was seeking asylum for them both, was placed in detention. After nine months, and through the help of advocacy groups, Vilma was finally released. I’ve portrayed mother and daughter shortly after being reunited.
ELLEN ALT
Forces, 2014 Mixed Media on wood: Acrylic paint, spray paint, glass, sugar, gravel, plastic, glitter, rocks, beads, sand, epoxy, wax. 20″H x 30″W x 2″D
What are the forces at play for the health of our planet? I chose this work for this milestone exhibition to emphasize this time of climate crisis. All other conflicts, skirmishes and rivalries pale in comparison. This particular work is about melting polar ice, but it represents all the natural systems at risk. Come on humans, time to step it up and work together to sustain ourselves continuing to live in this world.
AUDREY ANASTASI
Portrait of Ming, 2018 Vertical diptych: Oil on canvas 60″H x 30″W
I selected a portrait of Ming Smith: Only in the last few years has she, as a woman of color, received recognition for her lifelong accomplishments in photography. She was the first female to join the historic Kamoinge collective of black photographers documenting black life in the 1960s. She was the first black female photographer to have her work acquired for the collection of the Museum of Modern Art.
The vertical diptych submitted for the exhibition was painted live, from start to finish in a single session. For me, the unflinching gaze of the subject connects the viewer to a woman of determination.
BARBARA ARUM
An Accord View, 2005 steel, wood, mixed media 68’’H x 11’’W x 16”D
Much of my work revolves around the environment and women’s ‘right to choose’. In the past 60 years, worldwide many species have decreased by 80-90% due to climate warming, loss of habitat, and disease. Thirty years ago, I left Chelsea and moved to the Catskills to be closer to nature. It has softened my outlook and work. I am inspired by the natural forms in nature, and my work reflects the environment and my respect for all living things. The objects in ‘An Accord View’, although no longer alive, still show the beauty of things that once were.
FRAN BEALLOR
The Date, 2001 Oil on canvas 48”H x 30”W
You, the date, have arrived, late. Your place is set beside the letter arranging this encounter. Who will you date? A feral feline or a cool cat? A he, she or they? Out of women’s long, ongoing fight for equality, new ways of being in relationship continue to evolve, making this painting ever more relevant. There is ambiguity everywhere in this surreal vision that emerged from a dream. Are we inside or outside, in a café or a home, in a small space or the corner of a vast space? Stories emerge spontaneously in my work and I embrace them.
CAROLINE BERGONZI
Unity, 2023 Steel – W 22 x H 22 x D 14”
This artwork illustrates Bergonzi’s technique of drawing, hand cutting and shaping metal, a style she has refined for a decade. The biggest installation by the NY based Monaco artist was a 23-foot wingspan, “Metamorphosis”, displayed in Manhattan in 2015.
Unity is composed of two parts: a cut-out 2D sheet developed into a base, joint to its matching 3D version, folded out as a mandala.
With this delicate mind-bending artworks, visually very complex, Bergonzi offers a reflection about Unity: beyond the apparent confrontation of natures, shapes, styles and definitions, aren’t we all part of a unique fabric?
LINDY BLANCHARD
Lemuel, 2021 Oil on canvas, 48”H x 30”W
“Now” is definitely the time for people of all races and colors to have realistic painted representations of themselves. In the world’s history, it has been mostly wealthy and prominent white folks who had their portraits painted. My wish is to make genuine portraits, especially of black people, which show their dignity as part of the human family. I have preferred to leave the canvases undecorated, so the focus remains on the person.
PAM J. BROWN
There’s No Place Like Home, 2021 Sheet copper, silver solder, patina 20’’H x 14’’W x 9’’D
As an artist my studio practice is defined by experimentation, research and processes that are rooted in memories of growing up in the woods of historic Valley Forge Pennsylvania and the Pine Barrens of Cape May, New Jersey. Spending my childhood and adult life salvaging materials, natural and man-made from forests and abandoned early American structures has influenced my artwork. Consequently, I incorporate these materials into my process and fabricate constructions that are narrative and address environmental issues of climate, animal, and plant extinction, particularly birds, reptiles, wildflowers, and their diminishing landscapes.
NANCY BUETI-RANDALL
Give and Take, 2024 Monotype on Arches 88 29.5’’ H x 28’’ W
I search for what is not obvious, what is evolving, transforming those fleeting moments that can be seized and connected both to the universal and to my emotion-al experiences. My figurative work often translates into a narrative.
“Give and Take”, a woman is moving through a deceptively bucolic space, her face in peaceful respite, but still marred with the lines and cobwebs she tries to ignore. The invisible pollution around her is affecting her despite her attempts at oblivion, making the question “Where are we going?” much more urgent.
LINDA BUTTI
Serenity, 2023 Oil on canvas, 24” x 48”
I am completely concerned with nature and the life and beauty it gives us. We need to nourish and take care of our environment. We are disrupting the balance of nature with our so called “progress”. I came across this frog silently treated to a natural spectacle of nature and became fascinated with the beauty around him! -and very envious! If we just stop destroying nature- the very element we need to survive, we can connect to our spiritual selves and continue to live on this planet and enter “Into the NOW-The Time of Our Lives”
PAMELA CASPER
Telluric Forces, 2024 Oil and acrylic on canvas 40”H x 30”W
I am a visual artist inspired by nature, particularly by the vital role that fungi and soil life play in our planet’s health. Through my paintings, I raise awareness about environmental issues by creating vibrant imagined landscapes of cut-away views that unconventionally reveal life above and beneath the forest floor.
“Telluric Forces” explores the earthly magnetic energy that manifests as light waves and flows through rivers, connecting with tree roots, fungi, and minute subterranean organisms. Recent biological research increasingly supports the concept of interconnectedness among all things. A perspective of interconnection is crucial if we want to secure a sustainable future.
BRUNA D’ALESSANDRO
Breast Book, 2019 Steel, stainless and copper 17.5’’L x 14.5’’W x 5’’D
The artist’s book Breast Book is the affirmation of a strong identity in fragility. The book tells the steps to create a steel breast with the hammering technique, my favorite. The hardness of the material reflects the idea of the breast as a powerful part of the body, while the roundness of the shapes highlights its soft delicacy. The ‘book form’ connects the dimension of knowledge with that of the body and intimacy.
Believing that the fight for women’s rights requires constant dedication, the work celebrates independence, beauty, strength in fragility, knowledge and sensitivity as the most extraordinary qualities.
ROSE DELER
Mother, 2024 Earthenware, bronze, copper, wax 22″H x 11’’W x 11″D
My sculpture, “Mother,” embodies the essence of femininity, strength, and defiance. It depicts a life-size torso of a woman’s back, adorned with a “tattoo” proclaiming “MAMA” at its center—a symbol of nurturing and empowerment. The brass rod bustle juxtaposes a delicate femininity with industrial strength. Its integration of derogatory labels speaks about resilience and reclaiming power. “Mother” invites viewers to confront societal expectations and celebrate the multifaceted nature of womanhood. It’s a testament to the timeless relevance of embracing one’s identity and stepping boldly into the present.
ELIZABETH HASEGAWA AGRESTA
Restoration, 2024 Oil on canvas, 48” H x 16”W x 2”D
Outside and beyond the chaotic turbulence of human existence, Mother Nature continues her quiet but steadfast journey towards renewal and growth. She strives toward her zenith, cleansing, nurturing, and reaching for imperceptible light.
SHEILA HECHT
Getting There, 2021 Acrylic on canvas, 30’’H x24’’W
“Getting There” in this global world is my personal journey to raise the consciousness and awareness of the environmental issues that affect our lives today! The future of our planet is at risk: The air we breathe, the water we drink, the food we eat, are attributed to climate change, which is affecting our basic human rights!
As you can see my painterly textures are intense, and the ongoing push and pull stylistically represents the past and the present. We must focus our attention on our climate NOW!
“The future belongs to those who believe in the beauty of their dreams”. – Eleanor Roosevelt
BETTY ANN HOGAN
Autumn in Full Color, 2024 Chalk pastel and acrylic on Bristol Board, 23″ H x 20″ W
When I take walks, I see glimpses of trees, sky, rooftops, plants, that are defined by sunlight, shadow and the season. These glimpses are gifts from a spiritual source. I take photographs, sort them, and begin to decide which ones will be transformed into my artwork.
– Betty Ann Hogan, 4/ 19/24
BENICE HOROWITZ
Cross Currents 2, 2023 Acrylic on canvas, 36” H x 24” W
My paintings are personal journeys of discovery and a commentary on life experience. They are reactions to what is visible and to the spiritual. My moods are translated into paint which cover the whole spectrum of emotions. I was born and raised in Johannesburg, South Africa and have been drawing and painting since childhood. My passion is for the process itself. This piece titled “Cross Currents 2” is the second in the series and expresses the conflicts that I perceive in the world and on a personal level. The interchange and clashes of cultures, personalities and religions are translated to paint.
LORI HOROWITZ
Growing Up, 2024 Mixed-media relief: aluminum sculpted photo, fabric, wood fungus, fiber and encaustic wax 72″H x 32″W x 20″D
Growing Up addresses the environment, humanity and tensions within our diverse and often divisive society. Inspired by woodland walks examining nature’s design detail, I symbolically use vibrant fungus to illustrate beauty from decay. Forms emerge, deeply rooted in past struggles and growth. Mixed-media sculptures combine photography, wire, encaustic wax, copper, and paint. Experimentation leads to a new technique, sculpting photos three dimensionally. Collaged woven images become sculptural forms while mirroring our social climate. Societal conflicts and displacement are precariously balanced in the shelter of nature’s precious woodlands. Destruction by overdevelopment and greed are camouflaged as progress unveils what is truly precious.
SUEJIN JO
Seven Story Mountain, 2024, Oil and acrylic on canvas, 36”H x 26″W
Image of the Seven story mountain comes from Dante’s Purgatory, the middle chapter of his Divine Comedy. I did not mean to do anything about Dante’s poem. It just happened when I was fiddling with the images of passing of the time, how it is like climbing up the mountain to get the view of the path one came from. It is good that each step led to the hopeful land giving the chance of cleansing one’s bad deeds one by one.
It pleases me that this is one of the rare paintings I did not make any corrections.
SUEIM KOO
Into the new chapter, 2024 Mixed Media collage with fabrics and rice paper on canvas 36″H x 24″W
My work signifies the start of a transformative chapter in my life as I break free from the injustices I’ve faced as a woman. The stripes of various textures represent past wounds, pain, and discrimination. By overcoming these hurdles, I narrate my life’s journey and embrace new hope and opportunities. The diverse materials in the stripes convey the depth of my struggles and challenges in the past time. This piece reflects my resilience and evolution, showcasing my vision for a future filled with hope and empowerment. The yellow hue in the left corner serves as a beacon, symbolizing the light of this new chapter.
SHEILA KRIEMELMAN
Behold the Child, 2024 Mixed media on watercolor paper 30’ H x 22” W
This piece is from a series inspired by my granddaughter. Oriana was born with a congenital brain disorder that necessitated many brain surgeries beginning when she was four years old. She has been my model, my muse,and my teacher. Despite some physical limitations and extraordinary challenges, I have watched her live life on life’s terms with indomitable courage, and to choose beauty, love and joy. The collaged portion of Behold the Childare drawings that she did in my studio when she was one, two, and three years old. Oriana earned her Masters Degree in Social Work from Hunter College, Spring 2024. She is twenty eight years old.
ANNA KUCHEL RABINOWITZ
Memento Mori, 2023 Collaged pigment transfer print 45”H x 31“W
Pascal eloquently sums up a recurring theme in my artwork – “When I consider the short duration of my life swallowed up in the eternity before and after, the little space which I fill…engulfed in the infinite immensity of spaces of which I am ignorant and which know me not. I am frightened, and am astonished at being here rather than there.” In “Memento Mori,” I exert control over disparate and fractured images that speak to both being part of the developmental cog of the society I was born into and the beauty of its isolated moments.
YUMIE KUSUDA
Double Circle Diamonds, 2019-2021 30’’H x 30’’W x 5‘‘D
“Double Circle Diamonds” is a contemplative exploration of duality and symmetry. Through intricate patterns and contrasting elements, I aim to evoke a sense of harmony amidst complexity.
The overlapping circles symbolize interconnectedness and the cyclical nature of existence, while the diamonds within represent the multifaceted aspects of identity. By juxtaposing these geometric forms, I invite viewers to reflect on the balance between opposing forces in life and the beauty found within their coexistence.
Through this piece, I seek to engage the audience in a dialogue about the universal themes of unity and diversity, inviting them to discover their own interpretations within its mesmerizing geometry.
DIANA FREEDMAN SHEA
Fracture, 2023 Oil on canvas, 24”H x 30”W
A “fracture” can be subtle or severe, disrupting communication, creating chaos, and destroying continuity. The bucolic lake view is fragmented by branches. There is no clear visual path to the house, nor can a viewer get a read on the whole. Likewise, we are living in a time of disconnection. Although the world has grown smaller because of the internet, we receive news tailored to one’s own world view. “Alternate reality“ Is how we speak of views not based on our set of facts. It feels like finding common ground gets second billing. Without making a conscious choice, my fractured subject reflects my unease of our time.
YUPIN PRAMOTEPIPOP
Friendship Knot #3, 2024 Alabaster 10”H x 10.5”W x 13.25”D
“Friendship Knot #3” is made of Alabaster. I started this theme 20 years ago and it is still valid now as the world still needs “Peace”. I borrowed the Thai word “ผูกไมตรี” bonding relationships using the knot to symbolize peace. “ผูก” means to tie.. Peace starts from within ourselves along with families, friends, communities… I always hope everyone is being treated fairly and equally regardless of race, gender, religion, and class differences in our society . May peace start and grow among us and be a tight bond “Into the NOW- this time of our lives”.
LYNNE FRIEDMAN
Angel’s Trumpet, 2024 Watercolor on Arches 17”H x 13”W
As a painter, I delve into nature-themed explorations infused with historical and mythological elements. Inspired by the timeless allure of Sirens, traditionally depicted as bird-women embodying hidden knowledge and transformative abilities, I reinterpret their significance for contemporary women. During an art residency in Costa Rica, I encountered Angel’s Trumpets, symbolizing vitality and a quest for enlightenment. In today’s tumultuous world, characterized by climate upheaval and personal/political trials, these themes resonate profoundly, urging us towards resilience and deeper understanding.
NATALIE GIUGNI
Daphne, 2023 Mixed media including bone and gold leaf – 51”H x 8” W x I2” D
Natalie Giugni’s sculpture, Daphne explores hidden support structures, both under the skin and pertaining to communities in which we identify. Giugni calls upon Greek mythology to draw attention to the timeless conflicts repeated in human history in leu of great advances in technology and science. In this work Giugni introduces Daphne, a symbol of victory and immortality, within the theme of the exhibition Into the NOW: The Time of Our Lives, highlighting the absurd frailty of a lifespan, or era, within the infinite.
LAUREN GOHARA
Canadian Wildfires Visit New York City, June 7, 2023, 2024 Graphite, pastel and colored pencil on paper, 12’’H x 9’’W
Now, as our planet spirals into a climate abyss, and our experiment in democracy lurches towards existential crisis, do we seek solace in beauty? In eternity? In intellectual speculation? Do we advocate? Or bear witness? Layered imagery in “Canadian Wildfires” inhabit different responses to our times. An off-kilter square recalls last year’s lurid orange sky. Over it floats a delicate, blackened leaf. Behind both, framing the space, are tracings from particle physics experiments: trails of subatomic particles, reminders of our shared existence—its continuity and its temporality; its manifestation of, and submission to, the physical forces that bind us together.
CAROL GROMER
In the Dust, 2023 Charcoal and conte on paper 40’’H x 30’’W
While contemplating this celebration of the Centennial of the New York Society of Women Artists, the notion of a new frontier for female equity became my inspiration. This drawing of a strong horse forging ahead into the future encapsulates the emotions that illustrate this moment in time. Breaking free of the past and running towards a future which celebrates diversity, unity and hope is my vision.
SARAH KATZ
Woman Screaming in the Shower 2018, Glazed stoneware 15”H X 6”W X 5” D
I work with my hands and tell stories. My work is both figurative and literary. This piece is my acknowledgement to my women friends and relatives that responsibilities can be overwhelming, and we may be restricted in our opportunities to complain and let off steam. It seems especially relevant now, when there are more restrictions on women than there have been in two generations, increasing pressure on us to submit. I have worked mainly in ceramics since college. I have an Assoc. from RIT in Ceramics, and a degree in Sculpture from California College of the Arts.
KAREN KIRSHNER
Let’s do the Twist!, 2023 Acrylic on canvas 40” H x 30”W
Let’s do the Twist! Is the outcome of my freedom to play. Had I been born more than a century ago, it’s doubtful I’d have time and freedom to play, Like a child with a piece of cardboard. When contemplating a title, I recalled my joyful memory of being four years old on the Bozo the Clown Show, and I was spotlighted, enthusiastically dancing the Twist.
STEPHANIE LEE
We, 2021 Pine black, natural mineral pigment, color pigment, ink on linen, 37.5”H x 24.25
In my ‘Munjado’ (Pictorial Ideographs) Series, inspired by Korean Folk Art, I merge Korean and English letter forms with vivid imagery, including diamonds (symbolizing thet riumph of purity over adversity), jewels, flowers (representing growth and prosperity),and the Ouroboros (symbolizing eternal cycles of destruction and renewal). Through this series, I convey my personal journey towards happiness and hope amidst the repetitive routines of everyday life as a mother, wife, and middle-aged female artist, a narrative that universally resonates with women. The piece titled ‘We’ embodies the spirit of solidarity among female artists. It features the visual of white snakes forming a womb-like shape, adorned with flowers symbolizing abundance and thriving.
YOLENE LEGRAND
Breadfruit Tree, 2013 Watercolor, 16″H x 22″W
My goal as an artist is to document the places that touch me the most. My paintings are inspired by the vistas of my travels and experiences. Nature is pure joy to me! I am fascinated by the challenge of being able to convey to the viewer my feeling about the scene through the use of composition, color and light. The painting or print must express both a visual as well as emotional sensations. Color helps me express the mood of the subject, be it tranquility or excitement.
JACQUELINE LORIEO
Layla, 2015 Bronze, 6H” x 20″W x 10″D
This bronze piece, called Layla, symbolizes women coming into their own. Accepting who they are, being at piece with their bodies. Having ownership and self-decision making about their present and future. Women have strived so long to reach this point in history and have to continue to fight to maintain the status quo. As a woman sculptor, I am always putting pieces in the public eye in the hope of being “seen”.
SUSAN MARKOWITZ MEREDITH
NOMADS, 2024 Poplar, plywood, woodstain, painted wood filler 17’’H x 23’’W x 15’’D
At the heart of Into the Now is the awareness that where we have been, where we are, and where we’re going are an unbroken continuum. For this exhibition I have chosen NOMADS because it speaks to the fluidity of time, seamlessly weaving together past, present, and future. The sculpture’s two elusive, weathered forms seem to flow across a landscape that is itself in flux. They are like true nomads existing fully in the present while both embracing the forces that have shaped them and actively seeking the unknown future that awaits them.
CATHY O’KEEFE
Healing, 2024 Acrylic on wood, 36” H x 24” W
“Healing” is an abstract expressionistic acrylic painting on wood that expresses the idea of tikkun olam or healing the world. The present and past contain(ed) people and places in need of great healing. My painting attempts to express this by joining a colorful palette and lots of movement toward an entire world of harmony and goodwill. As a woman, I feel free to paint boldly, with dynamism, and controversial themes.
SEEMA LISA PANDYA
Cymatic Spanda, 2023 Reclaimed tabla drumheads, India Ink, acrylic paint, wood 24’’H x 24’’ W x 12’’D
Informed by my percussion teacher’s wisdom that all matter in the universe vibrates, even our cells, I created ‘Cymatic Spanda’ crafted from reclaimed South Asian ‘tabla’ percussion drumheads bound in a self-supporting bulbous structure. Each drumhead holds a thousand hours of musicians rhythmic touch and is hand-painted with India ink. The forms are inspired by my experiments with ‘cymatics’, the study of sound vibration made visible resulting in stunning organic forms emerging from standing wave patterns. This piece in my Tabla sculpture series is also inspired by my four-year tabla musical training as a bridge to my South Asian heritage.
LEAH POLLER
Bedlam(b), 2023 Bronze, 6.5”H x 12”W x 12”D
Landmark moments are inscribed at the most intimate level. They remain indelible over time. After more than 20 years creating my sculpture series of bronze BEDS, in which words used without a second thought are transformed into visually rich 3 dimensional images evoking/provoking further examination, I manifested my 100th bed in perfect timing with NYSWA’s Centennial. Past, present and future… stamina, persistence, believing in myself,… struggling to contain the all of me in a lifetime of creativity … the credo of NYSWA’s founders…personified in a feminine icon of a vintage baby carriage, overflowing with raucous offspring…. Ideas on the lamb – Bedlam(b)!
SIENA GILLANN PORTA
Ambiguous Selfie, Buddhist Nun, Chemo Patient… 2024, Acrylic pigments and varnishes on canvas 39’’ H x 32.5’’ W x 2’’D
NOW is all we are or can be. I know this to be an elusive concept at the experiential level as we often are anywhere but present to our life as it is. “Ambiguous Selfie – Buddhist nun, chemo patient, etc.…? the title of my painting refers to the literal appearance of a woman without hair on her head and the assumptions or questions that I and others have about that. As a longtime Zen Buddhist practitioner, I have found my personal dance with cancer to be both very uncomfortable and very valuable.
ALEXI RUTSCH BROCK
Ecstasy Impressions #10, 2017 Oil monoprint, 22’’H x 30″W
This monoprints derives from images taken by my partner during orgasm. This voyeuristic view highlights an intimate moment that is both powerful and vulnerable. It is personal, yet directly shared with the viewer, bringing to question, “Is there a place in both our lives and psyche that we are NOT being observed?” Can I paint the female sexual experience and the female body in a non-apologetic, strong, brave way without it becoming objectified? Especially in these times of active repression of female sexuality, can this be a way to inform, educate and empower both artists and viewers?
STEPHANIE RAUSCHENBUSCH
Pointillist Bottles, 2021 Watercolor on paper – H22xW29”
Pointillist Bottles” by Stephanie Rauschenbusch carries on from the Pointillism of Seurat and Signac, which allowed complementary colors to flash next to each other. In this watercolor, the dots are more like electrons and protons whirling around and inside the objects painted, showing us the moving structure of our world as an astrophysicist might see it.
MAUREEN RENAHAN-KRINSLEY
Beyond Here, 2022 Oil paint, cold wax paint, graphite, handmade papers, oil sticks, plastic particles on canvas 72’’H x 24’’W
I have been interested in exploring different ideas of what is “Beyond Here” both in science-based theories & religious philosophies. This painting grew layer by layer. In “Beyond Here”, I sought to create the feeling of the vastness of the universe, infinity, the miracle of creation, and how we connect to the celestial landscape when we are no longer here in our present form. The deep blues used in the work and the paint continuing off the edges of the canvas reflect these thought processes and inspire hope, as we feel connected to this immense energy, spirit, and force.
PEGGY SILVERSTEIN
Ms. Earlene Nobles, 2022 Welded steel, hammered, curled steel wire. 42″H x 20″W x 12″D
“Ms. Earlene Nobles” was made entirely of steel with plastic pearls. The piece is hand hammered; wood tools were created for the suit. The face and hands are rusted. The hair is curled steel wire. I consider it a portrait of one of the most important people in my life. Earlene’s life revolved around Sunday Church, choir, coconut cream cake, shoes, suits, bag, and bible. I lost touch with her suddenly twenty-five years ago. My work is a tribute to Ms. Earlene and all the courageous women of color who are keeping our country together, running in truth, dignity.
ANNE STANNER
The Tower, 2024 Reclaimed found metal objects (stove grills in steel & cast iron, steel hinges, bronze welding tip), bronze rod, black automobile acrylic lacquer. 29’’H x 10½’’W x 12’’D
My work celebrates both process and product, finding joy in manipulating found objects into satisfying configurations, welded with meticulous craftsmanship. While aiming for perfection, I embrace the beauty of imperfection, reflecting the Japanese concept of wabi-sabi. The Tower, originally stovetop items, now transforms into varied imagery—a teepee, a church, playground climbing equipment—symbolizing aspiration and adaptability. Its open structure hints at faces, evoking diverse interpretations. Like NYSWA’s century-long journey, it embodies achievement and possibility, inviting viewers to explore their own connections and meanings.
NATSUKI TAKAUJI
The Chrysanthemum and the Sword, 2024 Metal, fabric, epoxy clay, foam 6’H x 2’W x 2’D
This work “The Chrysanthemum and the Sword” encapsulated my running contemplation of Japanese culture and the female experience. I think this work corresponds to the exhibit’s theme: the history of women’s lives in the past and future, using symbolic references from my family lineage of samurai and the traditional Japanese wedding hat “Tsunokakushi”, intended to hide the bride’s horns/aggressiveness. While the title references a book written by American anthropologist Ruth Benedict during WWII to examine Japanese traditions and culture, I also aim to deliver a contemporary context and critical duality to be discussed through this work.
NITZA TUFIÑO
Ni Una Menos (English translation: “Not One Less”), 2022 Woodcut on Fabriano Paper, limited series, 22’’H x 30‘‘W
Depicted is Puerto Rico State Senator Ana Irma Rivera Lassen, who is one of the world’s courageous advocates for women’s rights and awareness of gender-based violence (femicide) against women leading to their death. The “Ni Una Menos” campaign is an international campaign started in Argentina to bring awareness of the urgency of the subject matter that is not spoken about: female femicides. Unless it is addressed as such, outside the context of domestic violence, women will continue to be killed. The campaign defines itself against “machista violence”.
LEA WEINBERG
Surrounded, 2013 Wire mesh with mixed media relief size: 25″H x25″W x7″D
As an Israeli/NY Artist I have mixed feelings of belonging and longing at the same time, living in one place thinking about the other. This wall sculpture presents a group of semi abstract humans squeezed together, surrounded by dark wave, as well as airy wire mesh figures, creating a semi transparent frame of ethereal images. We are surrounded by people from present life alongside the presence of memories and humans from the past, which will also be around in our future. Similarly, the NYSWA’s spirit accompany us for 100 years -NOW we celebrate, embracing our diversity in Art & Women Artists.
RACHELLE WEISBERGER
Repose. 2023 Acrylic on canvas, 20”H x 20”W
Over-scheduling is a constant struggle. We are juggling multiple responsibilities, along with constant reminders from our smartphones. My painting, Repose, serves as a reminder to take a breath and enjoy a pause during our busy lives. From my earliest days as a painter, I have been intrigued by color. This interest is the driving force of my work. A harmonious blend of colors is a powerful communicator, evoking themes that are spiritual and psychological. When colors come together in this way, they can provide a window for self-reflection—a means to connect with one’s inner world in a mindful way.
LUCY WILNER
Common Ground, 2017, Acrylic on canvas 26’‘H x 30″W
Common Ground is a poem about earth. Using the objective language of scientific illustration, I point to our deep emotional connection with the earth. NOW as always, we depend on earth’s products, exploit its riches, and are ultimately buried within its depths. (The numbers and lines on the sides of the box diagram reference a cemetery plot schematic.) Spiritually, the earth is the witness in the poignant story of the Buddha’s enlightenment, which is familiar in the earth touching gesture (Bhumisparsha mudra) of so many images. Recognition and respect for the earth and its systems lays a basis for TOMORROW.