Angels Gate Cultural Center of San Pedro, California is pleased to present UPEND Female Experience and Activism a new group exhibition featuring contemporary women artists. Providing a counter to the increased societal distress of a return to toxic hypermasculinity, UPEND depicts strength and resistance in a decidedly female-identifying voice - upending expectations for what can and cannot be said, and how women should act. UPEND opens with a public reception on Saturday, June 22nd from 2pm to 4pm at the Center, with a performance by She Loves Collective in the gallery.

Mother May Eye, installation by Suzanna Scott

UPEND Female Experience and Activism explores contemporary, intersectional feminist issues through the lens of radical empathy for the female experience. Works explore both the inner personal lives of women and their outward expressions of resistance. UPEND is a response to the cultural resurgence of hypertoxic masculinity and recent political upheavals diminishing bodily autonomy and rights for women. By sharing the unique perspectives of women, UPEND hopes to create empathy for the experiences of others.

No Gods, No Masters, installation by Elyse Pignolet

Id Phase 2 by Ibuki Kuramochi

UPEND Female Experience and Activism

Angels Gate Cultural Center Gallery

June 22nd, 2-4 pm / Public reception and a performance by She Loves Collective 

June 22 through August 17th, 2024 

Daddy Sehkmet by Sheli Silverio

UPEND Female Experience and Activism will be on view in the gallery through August 17th, 2024 with free public visiting hours Thursdays through Saturdays, from 10am to 4pm. This exhibition is generously supported by @culture_la, @lacountyarts, @canaturalresourcesagency for the Museum Grant Program under the California Cultural and Historical Endowment, #PerenchioFoundation, the Ralph M. Parsons Foundation, and Best Start Wilmington.

Beyond Boundaries

Beyond Boundaries at Flavio Dolce Art Projects in New Orleans features the work of ten stellar artists in a colorful variety of mediums. I'm happy to have this new collection of my Coin Cunt series included in this exhibition along with another new fiber sculpture. You can peruse the entire show catalog here.

Beyond Boundaries

Flavio Dolce Art Projects

April 26 - Summer 2024

Featuring work by gallery artists:

Anita Cooke, Blas IsasiCathy Jacobs, Francine Judd Stock, Jill Stoll, Joana Haars, 

Nonney OddlokkenPeter Barnitz, Sally Heller, and Suzanna Scott

8129 Oak Street, New Orleans, LA, 70118

(Tuesday to Saturday, 11:00 PM - 6:00 PM – or by appointment)

Contact: +1 (504) 296 0589 or info@flaviodolce.com or @flaviodolce.artprojects


I think I must be daydreaming because I'm about to have my work in three concurrent group exhibitions in New York City during Women's History Month. Take a peek at my previous posts to find out more about the Every Woman Biennial at La Mama Galleria and Making History at Krause Gallery. Today I'm tickled pink to share this announcement:

Coin Cunts by Suzanna Scott

Guy Hepner is pleased to present Daydream curated by The Pink Lemonade opening March 21st in New York City. Featuring works by Jeff Muhs, Suzanna Scott, Francesco Vullo, Andrew Orloski, Nøne Futbol Club, Leeah Joo, Josh Callaghan, Brock Davis, Kerry Skarbakka and Eliana Marinari. Established in 2016 The Pink Lemonade captivates with its artistic charm on Instagram spotlighting captivating art and photography. This meticulously curated platform serves as a feast for art enthusiast and visual digital content curators alike. 

Soft Serve Bikini Party by Jeff Muhs

About The Pink Lemonade:

The Pink Lemonade is a curatorial project founded by Italian artist Francesco Vullo on Instagram in 2016. In just a few years, it has become one of the most influential art pages on social media, building a community of 2.5 million people from every part of the world. With the mission to make art and visual culture more accessible to everyone, TPL began its journey as a platform for sharing images, shedding light on emerging artists and cultural phenomena that impact our society. With a wide selection of images ranging from photography, sculpture, paintings, design and lifestyle content, the page is considered a reference point for those involved in the creative industry and beyond.

Parrhasius No. 22 (Pretty In Pink) by Leeah Joo

The Exhibition:

Today, after 8 years of online curation, we are excited to announce our very first physical exhibition. Hosted by Guy Hepner gallery in New York City, the show will include established and emerging artists that through their practices reinterpret our daily existence, giving to the visitors a different point of view of the reality we live in. This exhibition will play with the viewer’s sense of understanding the world and the things in it, displaying a selection of artworks that blend different materials and techniques such as photography, sculpture, textile art and installation. Everyday objects will lose their original functionality and purpose creating new statements about everyday themes, transforming the ordinary into something strange and surrealistic that blur the boundaries between reality and imagination. 


Curated by The Pink Lemonade

Guy Hepner Gallery

521 W 26th Street / 5th Floor / New York, NY

March 21 - May 6, 2024

Opening reception: March 21st from 6-8 PM

Making History

Roe by Abby Elizabeth

Krause Gallery proudly announces, Making History: A Celebration of Women Artists, an exhibition in honor of Women's History Month. This event will showcase the diverse voices and artistic expressions of women artists, highlighting their contributions to the art world.

Co-curated by artist Abby Elizabeth, Krause Gallery will feature works by an extraordinary lineup of contemporary female artists, each bringing their unique perspective and style to the exhibit. Participating artists include Sandra ChevrierAbby ElizabethHama WoodsHan CaoSuzanna ScottYeah Yeah ChloeJoyce LeeJenna CableShamona Stokes, and Sahara Novotna.

“Women in the arts are unfortunately underrepresented and undervalued. It was honor to co-curate this show celebrating the work of so many talented women artists,” says Abby. We invite visitors to engage with the artwork and explore the themes of female identity, empowerment, and representation in the arts.

Tout Donner by Sandra Chevrier

Making History: A Celebration of Women Artists
Krause Gallery, 149 Orchard St., New York, NY 10002
March 16th - April 9th, 2024
Opening Reception: March 16th, 2024, 5 - 8 pm

For more information, please contact benjamin@krausegallery.com

visit krausegallery.com or check us out on Instagram @krausegallery

2024 Every Woman Biennial

Coin Cunt's by Suzanna Scott

The  Every Woman Biennial, the largest female and non-binary art festival (originally launched as The Whitney Houston Biennial in 2014), will present its 5th edition, March 2-March 24, 2024, with a media preview on March 1, 6-8 pm, timing with Women’s History Month and The Whitney Biennial, at La MaMa Galleria in downtown NYC. The theme and title, “I WILL ALWAYS LOVE YOU,” continues its homage to Whitney Houston’s music uplifting women which was the inspiration for the creation of the Biennial. The Every Woman Biennial aims to incorporate as many points of view as possible, to truly capture this moment in time from the gaze of women and non-binary artists; and as its following has grown tremendously over the last decade, the open call resulted in 700 applicants from which 200 artists were selected to participate in a dynamic floor-to-ceiling salon and performances.

The Every Woman Biennial is a cross-pollinated representation of artists working in a variety of mediums across generations (ranging in age from 14 to 83 years old), and racial and ethnic backgrounds. It is about discovery, community, and connection, presenting emerging and under-recognized artists, some having their first exhibition, alongside acclaimed feminist artists, including: Nadya Tolokonnikova (Pussy Riot), Swoon, Michele Pred, Liz Collins, Michelle Handelman, and more. All are coming together in a wildly eclectic salon in a range of styles including painting, photography, installation, sculpture, video, multimedia, augmented reality, textile, music and performance. A new and very special addition to I Will Always Love You will be a section dedicated to personal objects and small art works donated by the participating artists – a crafted item, talisman, amulet, spell, found object, crow's gift, lover letter, etc. – sharing and honoring the joy, nostalgia, hope and pain of being human. All artworks in the exhibition are for sale, with the talismans each priced at $25, enabling everyone to take home an artwork or memento of the show.

Love As Activism by Michele Pred

Michele Pred’s neon red heart surrounding a pink fist, Love As Activism, lights up La MaMa’s street window 24-hours a day setting the Biennial tone. Upon entering the exhibition, visitors are invited to be baptized in the Holy Rainbow Church of Matriarchy – Nadya Tolokonnikova’s pink and glittered take on a holy fountain titled Holy Squirt, 2023. Themes of matriarchy, gender fluidity, social and racial justice, women’s rights, and flipping the stereotypes of “women’s work” are a focus of many artists’ representations of their daily lives, bodies, desires, identities, and traumas; as well as immortalizing those they cherish – friends, lovers, mothers, grandmothers, mentors, and icons.

Power Trio by Airco Caravan

Danielle Scott’s, Queen of Angels, 2021, a mixed media collage on a vintage ironing board, originally presented at the Museum of African Diaspora, is an homage to the 26-year-long friendship with her mentor, the late Gladys Barker Grauer - artist, gallerist, activist, and politician, who feared being forgotten. Airco Caravan’s humorous and conceptual work honors African-American icons – Harriet Tubman, Angela Davis, Rosa Parks – in Power Trio, using spray cans and swapping consumerist labels for empowered portraits with witty activist slogans. Heroes closer to home and heart - mothers and grandmothers - are given recognition often neglected on gallery walls, in works such as Lifu Hu’s photo series, Grandma, depicting her grandmother having the courage to break out of her introverted nature to play in ways tha connect with the younger generation. Stacey Billups’ oil painting, Aquinnah Cliffs, depicts the joy of a day at the beach shared with friends.

Talia by Dominique Vitali

Cara Erskine’s pastoral abstract oil painting, Rainy Luncheon in the Studio Grass, 2021, features figures dressed in matching outfits that could allude to a kinship with teammates, or different aspects of the self through moments in life, in her ethereal fantasy weaving together art and historical references across time. Political and social issues are creatively explored in layered storytelling of dark subject matter such as Izabella Demalvys’, Saira, a portrait of one of Pakistan's female victims of brutal arson and acid attacks. Dominique Vitali’s, Talia, is a delicately drawn and disturbing contemporary depiction of the original Sleeping Beauty story, written by Giambattista Basile in 1634, in which she is aroused out of a deep sleep by the babies born from the Prince’s rape of her unconscious and unconsenting body. Caroline Voagen Nelson brings Lucy Burns - activist, jailed suffragette, and co-founder of the National Woman’s Party - to life in the amazing augmented reality print, Her Vote: Lucy Burns.

I feel my most gender queer in a wig cap by Chanel Matsunami Govreau

Clothing, as armor or restraint, is examined in a range of ways, including embroidered aprons and slips, and as a symbol of our consumerist destruction in Kat Ryals’s cast glass croc, Sailors Slipper (Traharella), 2023. Multi-hyphenated artist Chanel Matsunami Govreau’s convergence of wearable sculpture and gender expansiveness is presented through the soft armor of a wig in the photograph, i feel my most genderqueer in a wigcap. Side-by-side with figurative works are abstract and textile works including Fukuko Harris’ brightly colored clay and mixed media sculpture reinventing pussy hats into earthy organic forms in Women’s March. Suzanna Scott’s Coin Cunts are a multi-colored symbol of empowerment and equality for all with a vulva, symbolically turning the ubiquitous object of a purse inside out, and challenging the misogynistic and racist culture in the U.S. Classical miniature embroidered, and embellished, portraits by Karina Majkut, titled Fair Play, subvert the toxic masculinity of vintage baseball cards by obscuring the identity, and making them more inclusive, ambiguous -and sparkling.

Flash Mob choreographed by Natalie Lomonte, Every Woman Biennial, 2019

Short time-based media by 27 artists will play in a continuous loop, allowing visitors to quickly sample a number of videos, as well as longer works provided with a menu to allow visitors to select specific videos to view. Performance art and live music will continually enliven the Biennial, including a choir performance by Gaia Music Collective on opening day, and musical performances by Alison Clancy, La Galli, and more.

La Mujer by Emma Enriquez

Every Woman Biennial: I Will Always Love You

March 2 - 24, 2024
La MaMa Galleria
47 Great Jones Street, NYC

Media Preview: Friday, March 1, 6-8 pm
Opening Reception: Saturday, March 2, 1-4 pm

The 2024 Every Woman Biennial, is co-curated by a team of creatives and artists who have been the driving force managing and producing all previous Biennials with founder C. Finley: Molly Caldwell, Executive Director and Producer; Eddy Segal, Artistic Director; and Jerelyn Huber, Gallery/ Production Manager. Funding is generously provided by: The Deborah Buck Foundation, The Jonathan Rinehart Family Foundation, and Caldwellings Real Estate.

Timelapse: 7th Louisiana Biennial

My latest wall installation, Jezebel, was accepted into Timelapse, the 7th Louisiana Biennial, a national juried exhibition hosted by Louisiana Tech University School of Design. The juror is Laura Blereau, Curator of Exhibitions at the Newcomb Art Museum of Tulane University in New Orleans. I’m excited to join 40+ national artists in sharing work here in my local community. If you live in North Louisiana or surrounding area, please save the date and I hope to see you there on the 30th!

Timelapse: 7th Louisiana Biennial

Louisiana Tech University School of Design

F Jay Taylor Visual Arts Center

January 16 - February 20, 2024

January 30th / Juror Talk 5 pm / Reception 6 pm

Contemporary Chronicles

Starting out this new year with an invitational group exhibition at Flavio Dolce Art Projects in New Orleans, Louisiana. This is a textile oriented show with several other artists who are pushing the medium in diverse ways. Two of my slightly older works are to be included, Out of Reach (2017), pictured above and Osmosis (2015). The exhibit was curated by artist Rodrigo Franzão and will be on view from January 13 to February 29, 2024.

A Land with No Name by Sara Madandar

Contemporary Chronicles serves as a dynamic platform for engaging discussions on contemporary socio-cultural themes, inviting visitors to navigate through a harmonious and nuanced perspective on social changes, personal stories, and the ever-evolving dialogue between tradition and modernity.

This exhibition not only encapsulates the spirit of our time but also anticipates the evolution of art itself. Visitors are encouraged to explore a wide range of mediums, from traditional canvases echoing the timeless strokes of artistic mastery to digital works that push the boundaries of creativity. The artists behind Contemporary Chronicles aim to initiate profound and meaningful conversations, challenge preconceptions, and offer a nuanced glimpse into the rich tapestry of stories shaping our collective consciousness.

Darkening Sky by Anita Cooke

Contemporary Chronicles

January 13 to February 29, 2024

Reception / January 13 from 6-9pm

Featuring contemporary artists:

Nurhan Gokturk, Sara Madandar, Peter Barnitz, Suzanna Scott, Anita Cooke, Kaori Maeyama, Cathy Jacobs, Carlos Setti, and Nonney Oddlokken.

1157A Eagle St, New Orleans, LA, 70118

(Wednesday to Saturday, 12:00 PM - 6:00 PM – or by appointment)

Contact: +1 (504) 296 0589 or info@flaviodolce.com or @flaviodolce.artprojects

Feminist To The Core

I'm really excited for the Coin Cunts  to visit Chicago! This particular traveling set has visited several major cities around the US as well as international destinations in Malta and Russia where they met with some resistance but that's a story for another day.

Curators Gone Rogue and [salonlb.] are proud to present Feminist to the Core exhibition, featuring over 25 artists working in a wide range of mediums from around the world, expressing the artists’ experiences and visions of feminism. The exhibition will kick off with an opening reception on August 18th, from 6-10 PM, featuring a live performance of She’s Only Sleeping, a feminist adaption of the Sleeping Beauty fairy tale, by artist/performer Ginny Sykes and Joel Hall Dancers Artistic Director Jacqueline Sinclair, at 7:30 PM.

100 Women Project by Ginny Sykes

[salonlb.] is a multidisciplinary exhibition space and event venue in Bridgeport designed to engage critically with the arts, a forum supporting emerging and mid-career artists, with an emphasis on sculpture, mixed media, and contemporary craft. Founded by artist Lauren Brescia, [salonlb.] features 10,000 square feet of multi-use creative space in an industrial loft-style warehouse.

Ondine | Perfection by Iyomi Ho Ken

Fleshed Out Project by Barbara Kendrick

Feminist To The Core

Presented by Curators Gone Rogue & [salonlb.]

1010 W. 35th Street, Suite 500 / Chicago, IL

August 18 to October 1, 2023


Friday, August 18th from 6-10 PM

7:30 PM - a live performance of “She’s Only Sleeping”

Red Balls by Patty Carol

Louisiana Contemporary 2023

Ascendant by Suzanna Scott

I was absolutely thrilled to hear 'Ascendant' was accepted into this years highly competitive Louisiana Contemporary exhibition at the Ogden Museum of Southern Art in New Orleans. Since we moved to Louisiana in 2016 I've been throwing my hat into the ring every year and I'm excited to say this year is the year! Looking forward to spending a couple days installing at the museum, hanging out with the family, and attending the opening during White Linen Night.

Ogden Museum of Southern Art first launched Louisiana Contemporary,  presented by The Helis Foundation in 2012, to establish a vehicle that would bring to the fore the work of artists living in Louisiana and highlight the dynamism of art practice throughout the state. Since the inaugural exhibition twelve years ago, Ogden Museum has shown works by over 500 artists, making Louisiana Contemporary  an important moment in the national arts calendar to recognize and experience the spectrum and vitality of artistic voices emanating from New Orleans and in art communities across Louisiana.

This statewide, juried exhibition promotes the contemporary art practices in the state of Louisiana, provides an exhibition space for the exposition of living artists’ work and engages a contemporary audience that recognizes the vibrant visual arts culture of Louisiana and the role of New Orleans as a rising, international art center.

This year’s guest juror, Aleesa Pitchamarn Alexander, the Robert M. and Ruth L. Halperin Associate Curator of Modern and Contemporary Art at the Cantor Arts Center at Stanford, has selected 45 works by 31 artists from a total of 790 submissions.

“Art is a guide for every person who is looking for something.” –Thornton Dial, 1996
Growing up between Bangkok and the Pacific Northwest, the American South was mysterious and unfamiliar territory to my younger self. My family never visited the region, and I gleaned all my knowledge of it from history textbooks and the “Adventures of Huckleberry Finn.” When it came time to pick a dissertation topic in graduate school, while my colleagues decided to pursue projects in Italy and the Netherlands, I took a different path. I wanted to spend those crucial years in a historically significant, culturally vibrant and fascinatingly complex place that might seem unexpected to most art historians. As an outsider and transplant to this country, I was looking for some understanding of what it means to be American. There was no better – or more necessary –place to embark on this journey than through the South, and art was my guide. Through my research, I encountered so many incredible artists, collectors and community members, and these experiences have fundamentally shaped my worldview as a curator and art historian. In my mind, for reasons both challenging and energizing, you don’t really know the United States until you’ve spent time below the Mason-Dixon.
I am grateful to be this year’s juror, as it has allowed me to take another Southern journey through Louisiana. It is humbling to be in this role, as there is no way one can select a fully representative and complete grouping of works. This is a testament to the vitality of artistic production taking place here. I will always be a steadfast admirer of artists: the sheer courage it takes to make unique, soulful, singular things and share them with the world – in this case, asking to be judged—is radical. This year’s selection offers a diverse range of form, content, material and maker. Some works suggest vulnerability and intimacy, while others function as incisive critiques of the past and present. In certain cases, some pieces felt prophetic, anticipating the world to come. To those artists whose works I did not select, please know this process primarily reflects the juror, and I encourage all to continue on the creative path.
Artists are essential workers. You are consequential and necessary, and it is our responsibility as a society to find ways to support you. The Louisiana Contemporary is one such meaningful platform, and I am honored to be part of its history.
Congratulations to all involved. 
Aleesa Pitchamarn Alexander
Robert M. and Ruth L. Halperin Associate Curator of Modern and Contemporary Art
Co-director, Asian American Art Initiative
Cantor Arts Center, Stanford University

Carlos in the Multiverse by Trenity Thomas

Glare by Mary Jane Parker


Presented by The Helis Foundation

Ogden Museum of Southern Art

New Orleans, Louisiana

August 5, 2023 through February 18, 2024

Opening on Fidelity White Linen Night 

Saturday, August 5th / 5-10 pm

New Life by Kelsey Livingston

Mid-South Select 2023

Birthright by Suzanna Scott

Two of my rope sculptures were selected by juror Melissa Vandenberg to be included in this years Mid-South Sculpture Alliance exhibition. The exhibit includes sculpture by twenty four member artists in a variety of mediums. On view through June 3rd at City Gallery in the Pam Miller Downtown Arts Center in Lexington, Kentucky.

The New Ship Of Progress by Travis Townsend

Handsy by Lily Dorian

Germina by David Marquez

In-gaged by Sabine Senft

Big Muff by Baggs McKelvey

Fantastic Fibers

Here’s the latest iteration of my fiber sculpture Ascendant installed at the Yeiser Art Center for this year's Fantastic Fibers exhibition, juried by fiber artist Rena Wood. Now in its 36th year, this long running fiber exhibition features artwork from 26 states and five countries. This year the international juried exhibition showcases outstanding work in fiber and includes 62 works from 500 submissions. The show began in 1987 as a wearable art show but has evolved over the years to include a compelling mix of traditional and non-traditional works created from natural or synthetic fibers, and work that addresses the subject or medium of fiber. One of Yeiser Art Center’s most engaging, innovative & colorful international exhibits, Fantastic Fibers is an inspirational must see for fine artists, quilters, and textile art enthusiasts across the globe.

Fantastic Fibers

Yeiser Art Center / Paducah, KY

April 8th through June 24th

Gallery hours / Tuesday-Saturday / 10 am-5 pm

Reception / Saturday, April 29 / 3pm-6pm

I Choose, Therefore I Am

'Dare You To Cross The Line' by Rachelle LeBlanc

I'm joining forces, yet again, with other artists to speak out for reproductive rights in the United States. The exhibition opens on Saturday, March 11th in Houston, Texas. You can view the virtual exhibition here and a catalog of the work is available here.

The I Choose, Therefore I Am Project is a peaceful protest and public art exhibition created by textile artist, curator, and activist Rachelle LeBlanc shortly after the U.S. Supreme Court decided to overturn Roe vs. Wade in 2022. The project aims to explore textile art's subversive potential and gives artists working with textile-based techniques an opportunity to voice the female experience concerning women's rights through art. These rights include the right to choose for herself, to live free from violence, discrimination from skin color, reproductive rights, sexual rights, including the LGBTQ community, and exploitation.

'Coin Cunts' by Suzanna Scott, 2019

Textile art is a powerful form of discourse that transforms complex ideas and celebrates traditional skills while simultaneously giving importance to new innovative material processes. It is also a powerful tool for communication that helps bring difficult conversations forward through craftivism and its unique role in effecting social and environmental change.

'Mouth Off!' by Katy Anderson

Where there is a choice, there is a voice to choose with complete liberty and freedom for oneself. It is all-encompassing, and the heartbeat of Amnesty International's Women's Rights are Human Rights. What does this mean to you? How is this expressed through art? The answer to these questions can be found in the artworks within.

'Confinement' by Neroli Henderson

A new generation of international professional and amateur textile artists was invited to participate in a permanent online public exhibition, catalog, and biennial show. Artists from Canada, the United States, France, England, Poland, Germany, Australia, Russia, Hungary, New Zealand, and Iran include Jo-Ann Morgan, Katherine Shehadeh, Sarah Divi, Andrea Finch, Rebecca Schwarzberg, Rachelle LeBlanc, Suzanna Scott, Maria Wegrzyniak-Szczepkowska, Jennifer LaMastra, Neroli Henderson, Patti Colen, Barbara Burns Harpswell, Lena Meszaros, Courtney Turner, Debbie McIntosh, Vicki Stone, Tracey Kinsella, Katy Drury Anderson, Analeise Jarvi-Beamer, Michelle Knappe, Marty Ornish, April DeConick, Molly Colegrove, Laura Kenny, Linda Rae Coughlin, Winnie van der Rijn, Sarah Rieser, Joanne Vena, Janice Turner, Victoria Rudolf, David Van Buskirk.

'Sex Business 2' by Maria Wegrzyniak-Szczepkowska

I Choose, Therefore I Am

Silver Street Studios at Sawyer Yards #116  

2000 Edwards Street, Houston, Texas, 77007

Saturday, March 11, to April 30, 2023.

Hours: Thursday to Saturday, 12 to 5 pm or by appointment.

Opening reception April 8th from 4 to 7 pm

'Your Silence' by Joanne Vena

Roe 2.0 - It Ain't Over Yet

Forceps by Suzanna Scott, 2022.

I am stoked to be joining 44 artists in this fierce exhibit at Woman Made Gallery in Chicago to protest the overturn of Roe v. Wade. The exhibition opens this Saturday.

Woman Made Gallery is proud to present Roe 2.0 in direct protest and response to the United States Supreme Court’s 6–3 Dobbs v. Jackson decision, which overturned Roe v. Wade, the landmark ruling that established the constitutional right to abortion in 1973. Roe 2.0 is a hybrid group exhibition featuring works in a variety of mediums by 44 artists in WMG’s gallery space as well as varied responses to the theme by 100 artists in the virtual-only part of this important and powerful exhibition.

The Dobbs v. Jackson verdict leaves people with the capacity for pregnancy at the mercy of each individual state, which can now set their own abortion laws. Access to safe, legal abortions and reproductive healthcare is a basic human right that the U.S. government actively chooses to exploit. The denial of reproductive rights and access disproportionately affects individuals of color and those from economically disadvantaged communities. Our bodies and reproductive capabilities are not a political playground.

We at WMG believe that art can and does create lasting social change. As an intersectional feminist organization, WMG stands in solidarity with pro-choice activists and organizations. This exhibition seeks to document artists’ voices in this time of urgency, as a means of resistance to facilitate change and create a space for open dialogue regarding abortion rights.

An American Woman Has Fewer Rights than a Corpse by Elaine Luther, 2022.

Roe 2.0 – It Ain’t Over Yet!

Woman Made Gallery / Chicago, Illinois USA

January 28 – March 4, 2023

Opening on Saturday Jan. 28, 2023, 4-7 PM CST

Mr’s.’ Nirbhaya by Ina Kaur, 2022.

Embattled Bodies

'Otherings' by Suzanna Scott

I was pleased to have my latest sculpture, Otherings, juried into the exhibition Embattled Bodies: Displacement, Trauma, and Resistance, by juror Karlota Contreras-Koterbay, the Director of ETSU Slocumb Galleries and Board Director of the Mid-South Sculpture Alliance. The group exhibition of sculpture is presented by the Mid-South Sculpture Alliance (MSA) and hosted at Vinegar, a women-led contemporary gallery in Birmingham, Alabama.

'Siren' by Jess Self

The theme for this exhibition is the Body, the governed, embattled, empowered bodies of resistance and agency. From Black Lives Matter to the aggressive assault on the Roe Vs. Wade decision or the rights for trans youth to receive care, our bodies are in a constant struggle for autonomy, equality, and self-representation. Through this exhibition, MSA and Stove Works employ the agency of art as a platform for visibility and discourse. Artists were encouraged to submit works that redefine, reinvestigate and recontextualize the body and its politics. The selection criteria favors diversity in media/perspective and innovation in a form that prompts critical dialogue, yet are inclusive, empowering, and serve as an embodiment of contemporary issues.

The exhibition features three dimensional or installation artworks that portray the human body as forms of resistance, memory, experience, and history. Body as a form of resistance includes dissent, struggle, and pain, it is persistent and unbound. Body as memory, as physical manifestations of recollection, reflection, and remembering. Body as experience, as a resolution of the will and manifestations of the imagination, elaboration of life lived. Body as history, as anatomical documents, evidence of the past, and surfaces of record for battlegrounds of battles won and lost.

Embattled strives for self representation, and visibility including work resulting from reflective discourse, self gaze, and critical commentary that moves past the simplistic, voyeuristic tradition of the female nude. It celebrates the Body in all its complex forms, clothed, stripped, naked, battered, pampered, and all variances. The Body is portrayed for its overflowing potential as vessels of time, markers of place and repository of memory.

Karlota Contreras-Koterbay, juror

'Baggage' by April Knauber

Embattled Bodies: Displacement, Trauma, and Resistance

Vinegar / Birmingham, Alabama

Opening Reception: Saturday, November 12, 5–8 pm

Exhibition dates: November 12, 2022 – January 7, 2023

Gallery hours: 10am–2pm on Fridays and Saturdays, and by appointment

Featured Collections

Featured Collections at Paradigm:

Kelly Kozma, Caitlin McCormack, Suzanna Scott, and Matt Shlian
October 28, 2022 - November 13, 2022

Artwork will be available to the general public online starting Friday, October 28th at 5pm EDT. Please email info@paradigm-gallery.com if you would like to be added to the digital collector preview list for this exhibition or request to receive the preview for individual artist's collections by using the links below.

Friday, October 28, 2022
5:30 - 8:00 PM

Saturdays • 11:00am – 6:00pm
Sundays • 11:00am - 5:00pm
And 7 days a week by appointment.

746 S 4th St
Philadelphia, PA 19147

Post-Roe Louisiana

This group of kisslock purses were found together at a junk shop where I live in Ruston, Louisiana. They are now are included, as transposed Coin Cunts, in a timely exhibition in the city of New Orleans. Artists Respond: Post-Roe Louisiana is a juried exhibition that will feature artwork in a variety of media by artists from Louisiana, in response to the overturning of Roe v. Wade by the Supreme Court of the United States in June of 2022. The exhibition will be on view in the Carroll Gallery of the Newcomb Art Department of Tulane University, and will include student work as well as artwork by established and emerging artists from throughout the state.

Artists work left to right: Lorna C. Williams, Suzanna Scott, Nonney Oddlokken, Francine Judd, and Stacey Wink. 

Photo credit: Lindsay McLean

Artists Respond: Post-Roe Louisiana
October 4th to 28th, 2022

October 13th / Panel discussion & Exhibit Reception (see below)

Carroll Gallery / Tulane University / New Orleans, Louisiana
Panel discussion: 5:00 pm - 6:30 pm, Stone Auditorium
Exhibition reception: 6:30 - 8:00 pm, Carroll Gallery
Moderators: Dr. Clare Daniel, Administrative Associate Professor, Newcomb Institute

Kelsey Lain, Reproductive Rights and Reproductive Health Intern, Newcomb Institute
Panelists: Dr. Karissa Haugeberg, Associate Professor of History, Tulane University
Lakeesha Harris, Co-Executive Director, Lift Louisiana
Amy Irvin, Executive Director, Creative Community League

The panel discussion will be in-person, and also accessible via Zoom

Thank you to Newcomb Institute for helping to fund this project.

Sensing Woman

Suzanna Scott, Coin Cunts, 2021

There are only weeks to go until the midterm elections where our bodily autonomy and reproductive freedom are on the ballot. Since the reversal of Roe v Wade in the United States this past summer I've been eagerly awaiting this timely event, Sensing Woman: A multisensory event for reproductive freedom, with keynote speaker V (formerly Eve Ensler) in New York City. I'm grateful to have been invited to share my work alongside other artists speaking out for abortion rights.

Rosebud Woman and WoArt present Sensing Woman: five days and four nights of contemporary art, provocative dialogue, storytelling, music, and human connection around the future of being female. Hosted at C24 Gallery in New York City from September 27th - October 1, 2022 Sensing Woman is a gathering to shift minds and hearts, featuring 50 contemporary visual artworks, and programs spanning culture, medicine, and governance on female embodiment.

Amy Butowicz, Hidebound in Fool's Paradise, 2020

All profits will be donated to organizations working to protect and defend autonomy over our bodies, maternal health, and care for women, including The Center for Reproductive Rights and The Center for Intimacy Justice. Tickets and presale of artwork for this event are available at SensingWoman.org.

Caroline Wayne, Compulsion to Heal, 2018

Erin Juliana, Plica, 2022

Sensing Woman: A multi-sensory event for reproductive freedom
September 27th - October 1, 2022
C24 Gallery / 560 West 24th Street, New York, NY

I Know A Place

Image by Jourdan Barnes

I am honored to have my wall sculpture, Birthright, included in 'I Know A Place', a summer group exhibit of Louisiana artists curated by Jan Christian Bernabe at Antenna Gallery in New Orleans. The exhibit features artists Jourdan Barnes, Hannah Chalew, Jose Cotto, Thomas Friel, Ann Haley, Lucia Honey, Sara Mandandar, Mary Ratcliff, Suzanna Scott and Jade Thiraswas

“As we make our way into 2022, we might consider the weight of the changing and challenging world that we have collectively carried. Many of us feel an overwhelming weariness. These are pandemic times. These are times that have surfaced the cruelest components of humanity using race as a wedge to pit one against another. Yet, these are also times that have brought out the collective resilience, creativity, and kindness of individuals, unwittingly creating a type of queer vigilante—queer, in so far as, their vision is one premised on non-normative ways of navigating the world; feelings of shared struggles and interwoven histories; and queer, in so far as, temporal and spatial comforts exceeds or even defies preordained scripts. These are times when intersections, convergences, and connections, big and small, matter. The group show I Know a Place brings together artists whose artistic practices thrive at the junctions—these are creative intersections in which being a queer vigilante isn’t just another newfangled label but a critical praxis integrated into all facets of one’s life. I Know a Place is group show that creates the very places of comfort and joy; humor and laughter; kinship and solace. These are places that often feel few and far between or referred to in the past tense: “I knew a place.” But these places do exist today. To find them requires the act of reaching out. It’s a matter of simply asking: “Where is that place you know?” The artists in this group show will show you where those places are and then some.” 

—Jan Christian Bernabe

I Know A Place

Antenna / 3718 St. Claude Avenue, New Orleans, LA 70117

Saturday June 11 – Sunday July 3, 2022
Opening Reception: Saturday June 11, 6-10pm
Gallery Hours: Wed-Sun 12-5pm

Enjoy a virtual walk through of I Know A Place:

Masur Museum 59th Annual Juried Competition

My year-long pandemic stitching project, Ascendant, was accepted into the 59th Annual Juried Competition at the Masur Museum down the road from me in Monroe, Louisiana. The work is a large wall installation comprised of nearly 200 sperm-like forms. Since it is basically one big jigsaw puzzle it takes me about 12 hours to install and I was absolutely thrilled to find a venue to share it locally.

About the Exhibition & Juror

The Masur Museum of Art’s Annual Juried Competition showcases contemporary artists throughout the United States of America working in any medium. The Annual Juried Competition is the Masur Museum’s longest-running tradition and one of its best-reviewed exhibitions each year. Annually, contemporary works of art are submitted by artists all over the nation, in all styles and media. 

The Annual Juried Competition is also a chance to exhibit some of the United States’ best curatorial talent. This year, the Masur Museum is excited to have Susan Baley judge the submitted artworks and select the cash award winners. Baley is the Director of the Grinnell College Museum of Art in Grinnell, Iowa.

Prior to moving to Iowa, Susan Baley was the Executive Director of 108 Contemporary in Tulsa, Oklahoma. Baley also spent several years in Terre Haute, Indiana, as the Executive Director of the Swope Art Museum. Previously, she served as the Director of Education at the University of Oklahoma’s Fred Jones Jr. Museum of Art and taught art history, museum studies, and art appreciation at the high school and college level. She has held leadership roles in professional museum organizations at the state and regional levels and completed the Oklahoma Arts Council’s statewide Leadership Arts program in 2011.

Baley received her BFA in art history with a concentration in Classical studies from Wichita State University, and her MA in art history with a concentration in contemporary art from the University of Oklahoma. Her thesis Mazes, Metaphors, and the Mind explored the relationship between Alice Aycock’s sculptural work and her writing. In 2018, she completed a certificate in Nonprofit Executive Leadership from the University of Indiana’s Lilly Family School of Philanthropy. She has been working passionately in the arts for more than three decades and continues to believe in the power of art to change lives.

59th Annual Juried Competition

Masur Museum of Art, 1400 South Grand Street

February 24 – May 7, 2022

Reception: March 3, 5:30 – 7:30 pm

Juror’s talk at 6:00 pm

Selected Artists: Travis Apel (Omaha, NB), Mohsen Azar, (Sarasota, FL), Cindy Blair (Pineville, LA), Joshua Brinlee (Memphis, TN), Naomi Campbell (Brooklyn, NY), Lindsay Carraway (Sterlington, LA), Brooke Cassady (Ruston, LA), Samantha Combs (Baton Rouge, LA), Jeff Corwin (Santa Fe, NM), Julie Crews (Huntsville, AL), Dean Dablow (Ruston, LA), William Dooley (Northport, AL), Nicole Duet (Ruston, LA), Keldrick Dunn (Homer, LA), Leslie ElliottSmith (Alexandria, LA), Michael Elliott-Smith (Alexandria, LA), Emily Ezell (Ruston, LA), Malaika Favorite (Geismar, LA), Zoe Fitch (Tuscaloosa, AL), Eva Marie Fitzsimmons (Colts Neck, NJ), Claudia Flynn (South Kingstown, RI), Kariann Fuqua (Oxford, MS), David Gardner (San Francisco, CA), Ryan Gianelloni (Kenner, LA), Sondra Hamilton (Louin, MS), Paula Henderson (Atlanta, GA), Susan Hensel (Minneapolis, MN), Kate Sartor Hilburn (Choudrant, LA), David Holcombe (Alexandria, LA), Pamela Jackson (Monroe, LA), Peter Jones (Ruston, LA), Terri Jordan (Clarksville, TN), Heather Ryan Kelley (Lake Charles, LA), Christopher Latil (Lake Charles, LA), Julia Denise Lott (Pineville, LA), Dana Mano-Flank (San Carlos, CA), Emerald McIntyre (Monroe, LA), Marcus Michels (Hattiesburg, MS), Jill Miller (Lambertville, MI), Heather Milliman (Dover, NH), Kathy A. Moore (Casstown, OH), Jason Byron Nelson (Monroe, LA), Joshua Newth (Cape Girardeau, MO), Sue Nicholson (Monroe, LA), Cory Oberndorfer (Rockville, MD), Julie O’Connor (Westford, CT), Robert Patrick (White Bear Lake, MN), Sandi Pfeifer (Pittsburg, PA), Nikii Richey (Memphis, TN), Erika Rizer (Terre Haute, IN), Jennifer Robison (Shreveport, LA), Krista Schoening (Little Rock, AR), Suzanna Scott (Ruston, LA), Whitney Tates (Shreveport, LA), Skylar Taylor (Alexandria, LA), Terre Haute MoMA (Terre Haute, IN), Ashlee Thompson (Tuscaloosa, AL), Nina Tichava (Santa Fe, NM), Clifford Tresner (Monroe, LA), Edward Trover (Terre Haute, IN), Maria Botti Villegas (El Dorado, AR), Michael Warrick (Little Rock, AR)

Body Politics

Starting off the new year with my recently completed pair of blanket statements, Toys r US, included in group exhibit opening this week at ARC Gallery in Chicago, Illinois. The exhibition, Body Politics, is juried by interdisciplinary artist Ginny Sykes and includes work by over thirty artists.


In January 1973, Roe v Wade dramatically extended women’s options for bodily autonomy. Notwithstanding, women’s bodies remain a battleground – not just around reproductive health, but in myriad other areas, including (but not limited to) decisions around consent, safety, employment and beauty. Roe v Wade faces new threats to its existence – leaving reproductive rights in ever greater peril. Beginning with the policing of women’s bodies, and expanding to examine all forms of body policing and discrimination, ARC will host a juried exhibition in January 2022 to address these themes. Body politics shape the socio-political climate and affect basic human rights, from the #metoo movement and rape culture, to domestic violence, to gender politics, and right down to the politics of hair in the classroom and workplace.

AHHH, 2018 by Danqi Cai

Body Politics / ARC Gallery

1463 West Chicago Ave, Chicago 

JAN 6 – 29, 2022

Virtual Opening: Saturday, Jan 8, 4:00-6:00pm

The Law As Written by Alex Younger

Lunes es Revolución

Image courtesy of the dance collective En/Puja from the first performance of VAGINA back in 2018. Photo credit: Maria Valeria

As a North American artist, I have been excited to watch what is happening politically in Chile. Their recent rejection of the patriarchal culture within politics and the inauguration of the first-of-its-kind constitutional assembly, comprised equally of women and men, including indigenous peoples and scientists is truly inspiring. This assembly has been busy writing a new constitution that seeks a future of equality for all of its citizens.

I was generously invited by artist/dancer Rocío Argandoña and Soledad García Saavedra, curator to participate in Lunes es Revolución (Monday is Revolution) at the Salvador Allende Museum in Santiago, Chile. They will be incorporating my installation work Coin Cunts into their revolutionary dance, VAGINA, performed by the collective En/Puja.

Cholita Chic, La emancipación de las Ñustas (2014). Fotografía en canvas / 90 cm x 150 cm

Monday is Revolution encourages the encounter with artists that expresses different positions on doing and thinking revolution. The exhibition has its standpoint the day of Monday, associated with the beginning of the workday in which are assigned duties that in several times, eclipse dreams and the individual and collective freedom. Against obligation and work, Monday hosts the starting point of another cycle, one in which revolution could be practice in each day and in different moments, in a creative and irresistible movement, small or exorbitant.

Javier Rodríguez, La broma asesina (2021). Xilografía 90 cm x 60 cm.

The show seeks to open a conversation inside and outside of the Museum about the different scales, experiences and meanings that revolution had to artists during the sixties and the beginning of the seventies. In particular, the involvements end echoes that had the awakening of revolutions in Cuba and Chile, and beyond their frontiers, where violence, the organized struggles, rebellion and political slogans, coexisted with positions of self- observation, mistake, poetry, play and fiction. Likewise, the recovering and new readings about the documents’ traces of that time –exhibitions, books and slogans– are revisited by artists that look for other corporeal experiences with those incomplete, failed and cancelled processes; those that emerge today with force in the middle of a time social revolts and political crisis. At the core of these conflicts, the dissidence of organizations and collectives in the sexual, gender, environmental and ecological field, usually rejected and overlooked in recent revolutionary movements, open up and disrupt with gravitational pull the local struggles of liberation and care. They are visible and microscopic revolutions that transform the body relations in the everyday life.

Curator: Soledad García Saavedra (Birmingham, 1980) is an independent curator (Goldsmiths College, University of London) and an art historian (Universidad de Chile). She was the coordinator of the Public Programs area of the Museo de la Solidaridad Salvador Allende (2017-2020) and of the Visual Arts Documentation Centre of the Centro Cultural Palacio La Moneda (2010-2016). She has put together more than twenty exhibitions in Chile and abroad, as well as editing and publishing books and catalogues.

Artists and collectives participants in the exhibition: María Berríos & Jakob Jakobsen / Brigada Ramona Parra / Brigada Chile-Suecia / Cholita Chic / Colectivo EnPuja / Patricia Israel & Alberto Pérez /Raúl Martínez / Roberto Matta / Luis Felipe Noé /Camila Ramírez / Javier Rodríguez / Jesús Ruiz Durand / Suzanna Scott / Textileras MSSA

Exhibition with the support of: Danish Art Foundation, Danish Embassy, FfAI Arts y Fondart Nacional. 

Lunes es revolución / Monday is Revolution

Museo de la Solidaridad Salvador Allende

6 September, 2021 - 2 February, 2022

Fun House

Desolate by Anat Michaeli.

Earlier this year, soon after I'd completed Hammer & Suckle (below), I came across a call for this juried exhibition so I threw my hat in the ring--or rather my hammer in the ring! Housed in an old home in Poughkeepsie, New York, the Barrett Art Center becomes the site for all that a Fun House offers: the marvelous, disorienting, seductive, disquieting, and surreal. Works that engage with the real/unreal, the miniature and the gigantic, optics and illusion, the quirky, the absurd and the unconventional. The juror of this less than ordinary exhibit is, Silvia Karman Cubiñá, the Executive Director and Chief Curator of the Bass Museum of Art in Miami, Florida.

“Fun House 2021: Art of the Surreal, Fantastic, & Bizarre” presents XX artists interpreting wide-ranging and updated notions of this 20th century art movement—from dreamlike and fanciful to eerie and bizarre to xxx and grotesque. A number of artists nod quite literally to surrealistic forms and subject matter, more specifically, by intervening the figure using collage-like techniques reminiscent of “exquisite corps” and other surrealistic games. In other instances, artists create abstracted forms, whether organic or geometric, that are reminiscent of chance and the unconscious mind.
Encompassing digital art, sculpture, ceramics, painting and textile, works of art in Fun House perhaps respond to a year like no other in a generation. It is not possible to view these works of art separate from the context of a year impacted by a global pandemic, financial devastation and racial unrest and how the works perhaps manifest fear, uncertainties, grief, loneliness, joy, and desire in a year like no other. The work, for the most part, mirrors the myriad of collective anxieties of a country and a world during an unprecedented time that is still playing out.” 


Executive Director & Chief Curator, Bass Museum of Art, Miami

A Bit of a Hairy Situation by Phoebe Lake.

Fun House: 

Art of the Surreal, Fantastic, + Bizarre
May 8 – June 20, 2021
Opening Reception: May 8th, 3–6pm

Selected Artists: Gary Aagaard, Parastoo Ahoon, Robert Arbogast, Jamie Ashlaw, Brandin Barón, Dave Bermingham, Carisa Bledsoe, Patricia Constantine, Jack Crouch, Heather Deyling, Leah Diekhoff, Taylor DuBose, Jason Ferguson, Terri Fullerton, Setareh Ghoreishi, Lydia Hamilton Brown, Maureen Hearty, Taylor Hickey, Ann Huang, Jennifer Hughes, Victoria Hutchinson, Scott Isenbarger, Kevin Kuenster, Todd Kutyla, Phoebe Lake, Leighton McWilliams, Anat Michaeli, Kathleen Miles, Janet Millstein, C. B. Murphy, José Ney, Carol Nussbaum, Carol Paik, Stacy Pearl, Howard Pohl, Gabriel Poucher, Jayson Randall, Barbara Ringer, Larry Ruhl, Suzanna Scott, Steven Shpall, Holly Streekstra, Carlos Sullivan, Saral Surakul, Timothy Tracz, Sidney Westenskow, Bruce Wood and Susan Zimmerman.

Working Artist Award

I am honored to announce that I was recently awarded a Working Artist Grant/Art Purchase Award. I'm also thrilled that the sculpture the committee voted to acquire are from my personal favorite body of work, Fiber Fetishes.

The Fiber Fetishes explore the intricate web in/of our reproductive bodies and throughout the natural world. A tangle of coital life, I observe the animate and inanimate—­ovaries, stamens, fertility fetishes, sex toys and contraceptive devices. I endeavor to meld the endless labyrinth of time and sensual memory through repetitive wrapping and stitching. —­Suzanna Scott, 2017

Working Artist Org. (b.2008) of Tacoma, WA is a privately run and backed micro-grant project, devoted to the acknowledgement and promotion of great contemporary art and artists. The Working Artist Grant/Art Purchase Award is a one-time art award intended to disperse small but vitalizing bursts of funding to support an artist's ongoing art making process. This award is available to all artists worldwide, working in all traditional and new visual arts mediums, including but not limited to: conceptual, installation, drawing, painting, prints, sculpture, glass, mixed media, new media, photography and video.


'Out To Dry' by Suzanna Scott (right) and 'Hidden Estrus II' by Nicole Condon-Shih (left).

I am excited to have my encaustic sculpture, Out To Dry included in Spectrum, a colorful exhibition at The Stay Home Gallery in Paris, Tennessee. The exhibit will run all summer long and has been beautifully documented so you can take a virtual tour of this rainbow from anywhere in the world.

Artwork by Aynslee Moon Smithee, Injoo Whang, Amanda Brazier, Melissa Haims, and Virginia Griswold (right to left).

Works by Molly McCracken, Amy S. Broderick, Lina Tharsing and Alicia Thompson (right to left).

Started in 2020 as an online curation project between Kaylan Buteyn and Pam Marlene Taylor to highlight women and non-binary artists creating art in the global quarantine, Stay Home Gallery evolved into a brick and mortar house-gallery and artist residency in Paris, TN. Inspired by the work coming from artists in isolation, Stay Home Gallery gives the experience of isolated space and time to work on art to artists, without the global crisis (eventually). In an entirely unique space; a traditional home turned contemporary art gallery, Artists are encouraged to come alone, create a collaborative retreat by splitting the residency with other artist friends, or bring their partner or family.

Work by Julia Madeline Koreman (right) and Shaina Gates (left).

All images in this post are courtesy of The Stay Home Gallery, 2021.


Detail of installation work by {v} artist Ritty Tacsum.

The adventurous Coin Cunts have made their way to the Spazju Kreattiv in Valletta, Malta to be part of the exhibition {v}. Curated by Lisa Gwen, the exhibit {v} is part of the museum's ongoing Art+Feminism platform. By selecting the works of fifteen artists with a range of backgrounds, and through the careful curation of a range of mediums, Gwen seeks demystify female genitalia in art and life.

Grouping of photographs by artist Marcel Pommer.

Gustav Courbet’s The Origin of the World, is possibly the better-known of historic paintings, to audaciously depict and place female genitalia in the foreground of the work, thereby elevating it to subject matter. Whilst sexually charged, the anonymous woman’s body and stance, do not attain erotic or pornographic status. The work is simply a crude and unequivocal portrayal of the sinuosity of a (female) body in space, powerfully modelled and accentuated through light and shade. This is precisely how and why {v} was conceived, as an overdue attempt to both celebrate and demystify the female form, by overtly choosing to portray the vagina in literal, or abstracted terms, or even by connotation. The collective multi-media visual exhibition, will be accompanied by ancillary events, such as talks and screenings which shall both foster and encourage debate and dialogue on, and surrounding the subject.   -Liza Gwen, curator

Works by Isabelle Borg on exhibit at Spazju Kreattiv, Valletta, Malta.


Alexandra Aquilina, Kevin Attard, Isabelle Borg, Gabriel Buttigieg, Kane Cali, Charlene Galea, Christian Muscat, George Muscat, Matthew Pandolfino, Marcel Pommer, Kim Sammut, Suzanna Scott, Ritty Tacsum and Jenna Tilley.

Coin Cunt installation by artist Suzanna Scott on view at Spazju Kreattiv in Valletta, Malta.


Space C at Spazju Kreattiv

St James Cavalier, Valletta, Malta

5 February 2021 - 21 March 2021

House On Fire

'Coin Cunt's' installed in 'House On Fire'. Photo by Baggs McKelvey

When I saw that the Mid-South Sculpture Alliance had named Alicia Henry as the juror for their annual juried exhibition I knew I had to apply. I'm thrilled to be included in House On Fire and to have my work recognized with an Honorable Mention too! The exhibit is on view at The Pam Miller Downtown Arts Center in Lexington, Kentucky (my old stomping grounds) and due to Covid and subsequent building closure, the exhibit has been extended through the end of February 2021.

Left: Image of artist Alicia Henry by Gina Binkley. Right: Alicia Henry's work Witnessing at The Power Plant, 2019. Photo by Toni Hafkenscheid.

Photo by Baggs McKelvey

Photo by Baggs McKelvey

MSA Select: House On Fire

Pam Miller Downtown Arts Center

Lexington, Kentucky

November 6 - December 31st

Extended to end of February 2021.

USPS Art Project

This trio of Trumped Nuts self-portraits by artists Katie MinyardAndrew Leo Stansbury and Rebecca Strzelec are currently part of a traveling exhibition with the USPS Art Project. Brooklyn-based artist and Trumped Nuts participant Christina Masey has brilliantly inspired hundreds of artists to collaborate through the postal system in support of the United States Postal Service which is under attack by the current US administration.

All of the proceeds from the sale of these Trumped Nuts selfies will be donated to the Movement For Black Lives fund.


Pelham Art Center / Pelham, NY

Exhibition Dates: Aug 1 - 31, 2020

Ely Center of Contemporary Art / New Haven, CT

Sept 24 - Nov 15, 2020

Sunset Art Studios / Dallas, TX

Oct 1 - 31, 2020

Art Gym Denver / Denver, CO

Nov 5 - 15, 2020

WANT TO PARTICIPATE? Submit your own collaborative artwork/s to this traveling exhibit before the next destination. Visit USPS Art Project for details.

USPS Art Project on exhibit at the Pelham Art Center in Pelham, New York, August 2020.

Wonder Working

With so many exhibitions and galleries having to close their doors during Covid-19 shutdowns, I'm pleased to announce that my Coin Cunts are included in a virtual group exhibition curated by Joy Pepe via Digital Grace. Wonder Working: Contemporary Connections To Witchery’s Past is inspired by what links some of these representations with historical depictions of females and some males with magical or divine abilities – magnificent, sublime, sometimes terrible – as they connect with issues of gender, nature, and spirituality. The exhibition is available to view online thru May 31st, 2020.

“The beauty of female anatomy and sexuality becomes literal in Suzanna Scott’s Coin Cunts, a circular arrangement of the silky insides of coin purses shaped like vaginas. The allure of the female sexual organ resides in the soft, smooth fabric and varied vaginal shapes, while the commerce of ‘sex sells’ is literalized with the purses and the ‘shop ‘till you drop’ stereotype of women, so associated with Barbara Kruger’s declamatory photograph of the early 1980s, is conjoined. Now that stereotype is shattered in the sexualized purses that, represent women’s economic independence and decision making power within Western capitalism." 

—Joy M. Pepe, curator

Extra Human

Two interconnected spring art exhibitions, ​Extra Human ​& ​Witchy​, open at the Ely Center of Contemporary Art in New Haven, Connecticut this Sunday. A variety of related programs will occur over the next six weeks, with a closing event featuring Annie Sailer Dance Company on April 19th.

Extra Human​ presents new, site-specific works by Austin Furtak-Cole, Jacquelyn Gleisner, Molly Gambardella, Scott Lawrence, Martha Lewis, and Suzanna Scott challenging questions of modernity, technology, ritual, and human agency. A portion of these programs is made possible by a CT Office of the Arts project grant, facilitating ​The Collision Room​, a node that mirrors the center’s long history and current role in the arts community.

Witchy ​is an unjuried exhibition about magic, power, spirituality, and feminism. While both exhibits confront themes of power, agency, the human body, and modernity, Witchy​ pays particular homage to Grace Taylor Ely, the philanthropist who transformed her home (today, ECOCA) into a space for local artists to gather and show their work. Each year during Women’s History Month, ECOCA hosts an exhibit under the series ​In Grace We Trust to address ideas of tradition and change, a nod to the past as we confront current societal challenges, and rise together to create our future narratives. For ​Witchy​, we ask if magic can be understood as a ​different​ type of power, a way to combat political power that threatens many of our communities.

During the reception on March 1st, local artist, activist, and musician ​Briana Williams​ will present her piece “Ain’t I A Woman,” a multi-disciplinary performance, time-traveling back to the 1851 Women’s Convention, seeking to channel the feminist icon Sojourner Truth.

Short Summer by Austin Furtak-Cole

Extra Human ​& ​Witchy

March 1 - April 19, 2020

Ely Center of Contemporary Art

51 Trumbull Street New Haven, CT 06510

Opening Reception /Sunday, March 1, 1 - 3 pm

Closing Reception / Sunday April 19, 1 - 3 pm


Paradigm Gallery + Studio is pleased to present TEN, a comprehensive, group exhibition curated in celebration of the gallery’s tenth anniversary. TEN features the work of over 120 artists, who have presented at Paradigm over the last 10 years. The work included in the exhibition spans across mediums, featuring painting, drawing, sculpture, fibers, craft, mixed media and everything in between. To mark this exciting milestone, a majority of the artists have created new work specifically for this exhibition. Leading up to the exhibition, 36 of the artists will contribute to an exquisite corpse, a collaborative group work, which will be unveiled at the public opening reception on February 28th.

Suzanna Scott, Coin Cunts, vintage coin purses and thread, 2020

Over the last decade, the award-winning Paradigm Gallery has become internationally known as a Philadelphia mainstay. Locals and visitors alike have come to cherish the vision of powerhouse duo, Jason Chen and Sara McCorriston. Not only known for curating exciting and unique group exhibitions, the Paradigm team has helped emerging artists in their roster grow to international prominence. They have placed works in significant public and private collections like Villa Schöningen in Berlin and The Asian Cultural Council Taiwan Foundation in Taipei. Nationally, they have placed over 90 public murals, in part through their HAHAxParadigm collaborative programming, working with local communities in helping build a stronger U.S. public arts program. Their strong presence in Queen Village has significantly impacted the neighborhood. With new galleries popping up next door every day, the area has become a must-see art destination in Philadelphia. 

Rosa Leff, Close Enough, Hand Cut Paper Towel, 2019

On the subject of their anniversary, McCorriston says, “Since 2010, we’ve grown 4 times the size of what our original space was. It’s proof that the Philadelphia art scene is so supportive and that our diverse program of New Contemporary artists resonates with the community. We’ve curated “TEN” to reinforce what we’ve been doing over the last ten years and our 2020 program not only continues that mission but highlights how expansive Paradigm’s exhibitions can be.”

Lauren Rinaldi, Constant Convalescence, oil on panel, 2020

TEN is a celebration of the last ten years and a preview of what’s to come. Some highlights from the exhibition include works by artists from Paradigm’s first year like Brad Haubrich and Noségo, portraits of Chen and McCorriston by Emily Smith, and a large-scale exquisite corpse. Introduced in 1925 by Surrealists, an exquisite corpse brings together a group of artists in collaborative play, to create a single work of art. It pushes the boundaries of a traditional art form in a fun, untethered way. Over the course of the month leading up to the exhibition, around a third of the participating artists will contribute to the piece as a visual reminder of Paradigm’s ever-growing community.

Exhibition Dates / February 28 - March 21, 2020

Opening Reception / Friday, February 28, 2020 | 5:30 - 10:00PM


Tuesdays, Thursdays, and Saturdays • 12:00 pm – 6:00 pm
And 7 days a week by appointment: info@paradigm-gallery.com / (267)266-0073


Paradigm Gallery + Studio / 746 S. 4th Street, 1st Floor / Philadelphia, PA 19147

Material | Fiber

Taylor Orr, Sheepskin (2019), hand beading on sheepskin

Radial Gallery and the Department of Art and Design at the University of Dayton are pleased to present, Material | Fiber.  This exhibition will celebrate the intersections of fiber as material, process, and metaphor. Featuring works from national and local artists, Mayumi Amada, Diane Bush, Susan Graham, Stacy Isenbarger, Heather Jones, Colleen Kelsey, Carole Loeffler, George Lorio, Taylor Orr, Patrick Ronan, Casey Schachner, Suzanna Scott, Amanda Smith, Brooks Stevens, Sarah Nance, and Andrea Vail. These artists explore ideas in material culture relating to contemporary social problems and issues, as they juxtapose material and fiber processes around the words “material” and “fiber” – including all the various interpretations of those words.

Suzanna Scott, Out Of Reach (2017), vintage gloves, thread, polyfil, aluminum grate, wood

Material | Fiber  will coincide with the Visiting Artist Scholar Lecture for 2019/20. Dr. Joni Boyd Acuff, Associate Professor and Graduate Coordinator in Arts Administration, Education, and Policy at Ohio State University, will speak. Dr. Acuff, a practicing artist, and educator has a rich research agenda examining critical multicultural art education, critical race theory, and culturally responsive teaching and curriculum development. Her work extends beyond the traditional classroom to include working with diverse populations of learners, including students with special needs (cognitive and physical), students who identify as LGBTQ+ and students from varying racial backgrounds and socioeconomic levels. Dr. Acuff will be presenting a lecture before the exhibition reception at Sears Recital Hall on UD’s main campus.

Colleen Kelsey, Wife and Husband Two Headed Idol Figure (2015), fabric, embroidery thread, graphite, charcoal, conte

Join us on February 27th, 4-5 pm at the Sears Recital Hall for a lecture from Dr. Acuff, and then from 5:00-7:00 pm for an artist reception, located in Radial Gallery on the second floor of Fitz Hall, on the campus of the University of Dayton.

Material | Fiber

Radial Gallery, Department of Art and Design, University of Dayton

Curated by R. Darden Bradshaw, MFA, PhD

February 20th-March 25th 2020

Gallery hours are:

Monday-Thursday, 9 am – 5 pm

Friday, 9 am – 2 pm

Sunday 2pm - 4pm

On February 27th starting at 4:45 pm, visitors may obtain a parking pass from a Department of Art and Design Greeter in the main Lobby of Fitz hall. Outside of the opening reception; visitors may obtain a parking pass from the parking attendant located at the parking office located inside the main entrance of Fitz Hall. For additional information contact University of Dayton Galleries Coordinator, Nicholaus Arnold at 937-229-3204 or narnold1@udayton.edu.

The Tiny Art Fair

I’m excited to participate in the first edition of The Tiny Art Fair in Madrid, Spain opening this month. A collaboration of the gallery Échale Guindas and the artist Mari Quiñonero, TTAF is not a traditional exhibition nor just another group show. The art will be out of the usual spaces and decontextualized, far from gallery lights or a conventional naked booth. The art is fully integrated within an empty apartment—the kitchen, the bathroom, the storage, and the bedroom. It is a conversation between the rooms and the artists.


Featuring Artists:






To visit the exhibition

Please reserve a place at 


PASSES: 12: 30h · 17: 30h

ADDRESS: Calle Pelayo 47, 1st right


La artista de Louisiana, USA SUZANNA SCOTT, retrata la eterna conexión cultural entre mujeres, dinero y poder en su serie Coin Cunts.

De formación arquitecta, BEA AIGUABELLA presenta su Oda a la repetición jugando con los conceptos de lo colectivo y lo individual.

A CHRISTINA ZIMPEL, ex directora de arte de la edición australiana y americana de VOGUE, lo que más le interesa es la destilación de imágenes hasta su mínima expresión.

Cierra el cuarteto, la joyera y artista visual NICOLETTE BÉNARD que investiga la posición de la muñeca como icono de belleza.

Trumped Nuts

It is possible to be completely silly and serious at the same time, and I constantly seek to walk that fence in my work. Since creating these subversive objects last year, I've been pondering the best way to share them. After taking several self-portraits, it dawned on me that other artists might join me in documenting the collective angst that the current American president has spawned around the world. I shared the idea for the 'Traveling Trumped Nuts Artist Selfie Project' via Instagram, and dare I say, the response was YUGE. 

This past week I shipped out 16 pairs of nuts to the first of 100+ artists who have signed up to take a selfie with a pair of these golden gonads. There are currently 19 countries and 26 states represented in this number. If you are interested in joining the project, please contact me for details. Also, I'm accepting donations to fund the project and keep these Trumped Nuts circulating until the world has been freed from this American nightmare. Thank you to everyone who has joined me in this visual resistance!

"The Trumped Nuts serve as wearable objects calling out the exhaustive buffoonery of American politics today and the negative influence it is breeding around the world. Two disparate groups voted the current president into office and continue to support him no matter the cost. They are represented in this pairing of low-brow truck nuts with old-school bow ties. The object is now a symbol of false bravado and self-serving hubris. I’m asking artists to clip on a pair of Trumped Nuts and take a self-portrait. This personal action/documentation by individual artists worldwide will serve as a collection of visual resistance to a threat that is consuming us all."
Viva la Vulva
Sharing a couple of somewhat recent press projects I realize I hadn't documented in this news feed. I’m delighted to see my Coin Cunts lip-syncing along in Somesuch and Company's award-winning video, Viva La Vulva, directed by Kim Gehrig for Bodyform and Libresse. Thank you Marie Lanna for inviting me to collaborate in this brilliant, timely and witty production! Now take a couple minutes and watch the video here.

Also, have you heard that the one and only Vagina Museum opened in London earlier this year? I was pleased to have my red coin purse collection featured in this Libération news article about the museum. 


This new Coin Cunt collection has traveled to Vladimir, Russia to be included in OUT, an exhibition organized by Vavilova Anastasia and sponsored by the Moscow Museum of Modern Art from July 11 - 31. OUT is a special event for connoisseurs of contemporary art combining painting, photography, installation, video, underground cinema, and performance of artists from both Russia and the United States.

The goal of the exhibition is to portray the intimate lives of others without filters, sometimes without clothes, exposing loneliness or sexual fantasies. At the exhibition, you can find that the bodies of other people are imperfect and this is quite normal. Everyone can try peeping or become an object of peeping. Perhaps you can better understand yourself, your loved ones, become sincere and frank, review your shortcomings and see that you are not alone in your complexes or fantasies.


July 11 - 31, 2019

Shopping Rows Parking Complex

Vladimir, Russia

Tickets available here

NUDE at Villa Schöningen

A couple of months ago the original group of flesh-colored Coin Cunts was acquired by a collector in Germany. I’m so honored to have this piece exhibited alongside an incredible lineup of female artists in Potsdam, Germany. NUDE: Female Bodies by Female Artists is an exhibition of works from the private collection of Mathais Döpfner at the Villa Schöningen from May 4th through October 1, 2019.

From May 4, 2019, a group exhibition will be shown at the Villa Schöningen in Potsdam: Nude - Female Bodies By Female Artists. More than forty works by 31 international artists show different nudes, from the Renaissance to the present, including works by Paula Modersohn-Becker, Cindy Sherman, Marina Abramovic, and Rosemarie Trockel. For this extensive show, two floors of the Italian tower villa are being used for the first time.

In der Villa Schöningen in Potsdam wird ab dem 4. Mai 2019 eine Gruppenausstellung gezeigt: Nude – Female Bodies By Female Artists. Über vierzig Arbeiten von 31 internationalen Künstlerinnen zeigen unterschiedliche Aktdarstellungen, von der Renaissance bis zur Gegenwart, darunter Werke von Paula Modersohn-Becker, Cindy Sherman, Marina Abramovic und Rosemarie Trockel. Für diese umfangreiche Schau werden zu ersten Mal beiden Etagen der italienischen Turmvilla bespielt. 

Exhibition view of “Nude" at Villa Schöningen in Potsdam, with works by Carolee Schneemann (back left), Suzanna Scott (center) and Diana de Rosa. Image courtesy Villa Schöningen, Photographer: Noshe, 2019.

Feminine bodies from the perspective of artists from five centuries show the Villa Schöningen in their current exhibition. In addition to landscapes, portraits, and religious themes, female nudes are among the most frequently portrayed motifs in art history. From the Venus of Willendorf 25,000 years ago to performances and video installations of the present, the naked body has fascinated artists over the centuries. Again and again, dealing with nudity and eros was also an exploration of taboos and a fascinating indicator of the sense of time. Like a sensor of the constitution of freedom of a society or epoch, acts have shaped art history: restrained, shy, idealizing, sexualizing, politicizing, violent, tender, ugly or disturbing. Whether the "Maja" by Goya, the "Olympia" by Manet or "L'Origine du Monde" by Courbet and "Les Demoiselles d Avignon" by Picasso were always acts that provoked art scandals and explored uncharted territory.

Weibliche Körper aus dem Blickwinkel von Künstlerinnen aus fünf Jahrhunderten zeigt die Villa Schöningen in ihrer aktuellen Ausstellung. Der weibliche Akt gehört neben Landschaften, Portraits und religiösen Themen zu den meist dargestellten Motiven der Kunstgeschichte. Von der Venus von Willendorf vor 25 000 Jahren bis zu Performances und Video-Installationen der Gegenwart hat der nackte Körper Künstler und Künstlerinnen über die Jahrhunderte hinweg fasziniert. Immer wieder war der Umgang mit Nacktheit und Eros auch eine Erkundung von Tabus und ein faszinierender Indikator des Zeitgefühls. Wie ein Sensor der Freiheits-Verfassung einer Gesellschaft oder Epoche haben Akte die Kunstgeschichte geprägt: Zurückhaltend, verschämt, idealisierend, sexualisierend, politisierend, gewaltsam, zärtlich, hässlich oder verstörend. Ob die “Maja” von Goya, die “Olympia” von Manet oder “L´Origine du Monde” von Courbet und “Les Demoiselles d Avignon” von Picasso immer wieder waren es Akte, die Kunst-Skandale provozierten und stilistisches Neuland erkundeten. 

Exhibition view "Nude" in the Villa Schöningen, Potsdam, with the AR station of the painter Marion Fink. Image courtesy of Villa Schöningen, Photo: Noshe, 2019.

From May 4 to October 1, 2019, under the title Nude - Female Bodies By Female Artists, the female body will be shown exclusively in representations by female artists at the Potsdamer Villa Schöningen. Almost all forms of sculpture, drawing, painting, photography, and video are represented. In the foreground is the question of whether there is something like a specifically feminine view of the naked body. Or whether such stereotyping in the feminist context shape patterns that can not withstand a non-judgmental view beyond the gender stereotypes.

Unter dem Titel Nude - Female Bodies By Female Artists wird von 4. Mai bis zum 1. Oktober 2019 in der Potsdamer Villa Schöningen der weibliche Körper ausschließlich in Darstellungen von Künstlerinnen gezeigt. Dabei sind fast alle Formen von Skulptur, Zeichnung, Gemälde, Fotografie und Video vertreten. Im Vordergrund steht die Frage, ob es so etwas wie einen spezifisch weiblichen Blick auf den nackten Körper gibt. Oder ob solche Stereotypisierungen im feministischen Kontext Sehmuster prägen, die einer vorurteilsfreien Betrachtung jenseits der Geschlechter-Klischees nicht standhalten.

Exhibition view "Nude", Villa Schöningen with works by Anne Imhof (left) and Ambera Wellmann. Image courtesy of Villa Schöningen, Photographer: Noshe, 2019.

Project Gallery

Pleased to have my new sculpture Obligations on view this month in the Project Gallery at Gray Contemporary in Houston, Texas. Featured along with Theresa Anderson’s 04/ Sack, Amber Cobbs In the Palm of my Hand in center. On view through May 5, 2019.

Obligations by Suzanna Scott, 2019. Images courtesy of Mel DeWees, Gray Contemporary.

historically hysterical

Maryland Institute College of Art’s (MICA) Exhibition Development Seminar (EDS) presents historically hysterical,  a show featuring artists who reject the coercive hierarchy of gender roles in order to smash the patriarchy. Created by a class of twelve women curators, the exhibition uses installation, performance, photography, and mixed media fiber works—all created by contemporary women artists—to transform three floors of Baltimore’s historic Peale Center. The show opens with a public reception on Thursday, April 11 from 6:00 pm to 9:00 pm, including a performance by Baltimore feminist hardcore punk band War on Women.

historically hysterical  features women artists from diverse backgrounds who reference some of the materials and methods of seminal feminist art from the 1970s but draw their content from the present moment. This link between past and present mirrors current political realities: As a record-breaking 102 women joined the U.S. House of Representatives in the wake of #MeToo and the Brett Kavanaugh hearings, some journalists dubbed 2018 the “Year of the Woman”—a title previously used to describe 1992, the year Anita Hill testified against Clarence Thomas during his Supreme Court confirmation battle. The struggle for the acknowledgment of women’s experiences, contributions, and imaginative labor in a male-dominated system seems to echo across decades, forever unresolved.

The answer, the EDS curators suggest, is anarcha-feminism, an ideology that rejects traditional power relationships and demands equity, horizontality, and free association. The spirit of anarcha-feminism might seem antithetical to the past life of the Peale, which, as the first purpose-built museum in the U.S., once reflected nineteenth-century hierarchical approaches to knowledge and culture. But by inviting women artists to occupy the Peale and excavate, transform, and repurpose its spaces, EDS asks viewers to feel the power of the future, be inspired, and be liberated.

historically hysterical  includes:

New York artist Katie Bell creates installations of deconstructed and found objects, often working directly on walls and surfaces with materials scavenged on-site.

In her mixed-media fiber works, Brooklyn, New York artist Tamar Stone embellishes corsets, dolls’ beds, and other vintage items associated with women using elaborately embroidered text and images.

California-born, Baltimore-based artist Nakeya Brown uses found images and objects in staged narrative photographs that explore the complexities of race, beauty politics, and gender.

Baltimore-born MICA photography and design graduate Amy Helminiak uses multimedia to meditate on the ambiguity of language and the transformation of culture in the digital age.

Louisiana-based sculptor Suzanna Scott creates fiber-based sculptures and installation works rooted in feminist themes and visual metaphors for the body.

Originally from Spain, Chicago-based artist Verónica Casado Hernandez uses performance and installation to lacerate history, identity, and politics.

East Baltimore born and based photographer, educator, and freedom fighter Shan Wallace uses themes of history, politics, and oppression to challenge existing narratives of black communities.

War on Women is a Baltimore-based co-ed feminist hardcore punk band led by singer and activist Shawna Potter, who uses her lyrics to address issues like street harassment, reproductive rights, and rape culture.

In addition to works and performances by these artists, the exhibition also features interactive elements, including a communal “hysteria room” in which visitors are encouraged to let loose, embrace the spirit of anarcha-feminism, and respond creatively—or viscerally. The Peale’s permanent historical exhibition on the ground floor will be supplemented with an exhibit resource area, including a library of anarcha-feminist texts selected by Baltimore’s anarchist bookstore, Red Emma’s.

historically hysterical

April 11 - 28, 2019

The Peale Center
225 Holliday St, Baltimore, MD
Reception: April 11, 6-9 pm

About the Exhibition Development Seminar

Exhibition Development Seminar (EDS) is a year-long MICA course in which students experience the curatorial process by working collaboratively with the assistance of professional mentors to research, plan, and produce a major exhibition. MICA’s undergraduate Concentration in Curatorial Studies is currently administered by faculty member Jeffry Cudlin.

The Peale Center

The Peale Center for Baltimore History and Architecture, a 501(c)3 non-profit organization, is restoring the oldest museum building in the United States in partnership with the City of Baltimore. Through its programs, the Peale Center aims to illuminate authentic stories of Baltimore’s people and places, while reinventing the urban museum in the creative and innovative spirit of its founder, artist Rembrandt Peale.

About Red Emma’s

Named after the influential early 20th-century anarchist and advocate for women’s rights, Emma Goldman, Red Emma’s was founded in 2004 as a coffeehouse, restaurant, and bookstore. Started on a horizontal structure, all workers can become co-owners, thus having a vote. Their board takes every decision under consideration, with extensive research to responsibly source sustainable, animal-friendly products.

About MICA

MICA (Maryland Institute College of Art) is home to top-ranked fine arts, design, electronic media, art education, liberal arts, and professional studies degree and non-credit programs. The College’s alumni and programming reach around the globe, even as MICA remains a cultural cornerstone in the Baltimore/Washington region, hosting hundreds of exhibitions and events annually by students, faculty, and other established artists.

historically hysterical  is made possible in part by support from Friends of EDS. 


Sow Sow by Michael Radyk

Textile Center, in collaboration with the National Council on Education for the Ceramic Arts, brings together a complement of textile and ceramic artists in Structured, an exhibition focusing on textile processes as a starting point for conceptual departure. Structured is a gathering of forces who employ hand-making practices, challenging both maker and viewer in terms of how work is discussed, defined, considered, and categorized in contemporary art.

Artemis, Trishula, and Swan Song by Suzanna Scott, 2018.

The exhibition will feature 7 ceramic artists, along with 10 textile artists who work sculpturally, using textile constructions processes and sensibilities. The exhibition, which runs March 18 – May 11, 2019, will bring together a stellar collection of innovative work that reflects the processes of textile and fiber-based studio art practice. Content and inspiration are broad but specific to each artist. The invited artists grapple with everything from the historic to the contemporary, covering a range of content from politics, culture, gender, and identity to commentary on craft practice and the decorative.

Equivocator by Gina Telcocci

The invited artists who identify with the field of ceramics push their work in new ways through exploration of techniques generally championed by fiber and textile artists. In tandem, the works by the textile artists aid in contextualizing these terms of structure and sensibility, connecting the work in a peer-to-peer conversation on the nature of what constitutes a work of fiber art and the far-reaching implications textile works have on contemporary art.

Sarah Kusa
Joanna Poag
Michael Radyk
Tina Rice
Suzanna Scott
Gina Telcocci
Joy O. Ude
Casey Whittier
Rena Wood


Textile Center / Joan Mondale & Studio Galleries

3000 University Ave. SE, Minneapolis, MN

March 18 - May 11, 2019

Reception: Thursday, March 28, 5-9 pm

Gray Contemporary

I'm honored to be included among these artists in a group exhibition opening Saturday night at Gray Contemporary in Houston, Texas. Jamey Hart: Pistachio will be featured as a solo exhibition in the main gallery. I've long admired Jamey's work via Instagram after coming across his feed a couple of years ago. Just as intriguing as his work are his words as streams of consciousness on life, work, and all else in-between. Jamey's paintings can be understood as careful and slow meditations on form, completeness, and the link between looking and feeling. In the second gallery works by Steve Riedell, Suzanna Scott, Molly Thomson and Derrick Velasquez will be on exhibit.

Gray Contemporary

3508 Lake St. Houston, TX

February 23 - March 23, 2019

Opening reception: Saturday, Feb 23, 6-8 pm

Familiar Friends
Opening this Saturday night in Los Angeles, one last exhibition to close out 2018! I was invited by the curatorial duo Stephanie Sherwood & Joshua Oduga to participate in Familiar Friends at Durden & Ray in Los Angeles. It’s a witty show with a lineup of ten stellar artists.

Familiar Friends is an examination of the power of relationships in creative work; the otherwordly and whimsical nature of the pieces in this exhibit express notions of friendly mythical creatures like an imaginary friend or perhaps a helpful demon. The artists in this exhibit use color and abstraction to present familiar forms in new ways. As this curatorial teams second project to date, Familiar Friends seeks to explore new themes in our similar interests.




December 15th - 29th, 2018
Durden and Ray
1206 Maple Ave #832, Los Angeles CA
Opening Reception: Saturday, Dec 15th 6-9 pm

All exhibition images courtesy of Stephanie Sherwood, 2018.

50 Nuances de Rose

I’m excited to participate in 50 Nuances de Rose / 50 Shades of Pink, an exhibition bringing artists together around the color pink in the heart of Paris. This diverse collection of work aims to highlight the semiological richness of the color pink, thus bypassing its apparent superficiality.

The curator of 50 Nuances de Rose is Kévin Bideaux, an artist who multiplies historical and cultural references with the aim of renewing the link between art and science. He is also a doctoral researcher in art and gender studies at Paris 8 University, under the supervision of Hélène Marquié, a professor of gender studies. His thesis topic is the pink color and its connection to the genre. He is particularly interested in the way in which the feminine symbolism of the rose was constructed.

A nod to the popular work of Erika L. James, with which the color pink shares her evocation to sexuality and femininity, the exhibition addresses the color in all its colors in a variety of expressions: plastic, technical, political, historical, sociological, anthropological, psychological, psychoanalytical, physical, chemical, biological, esoteric, semantic, symbolic, poetic, illustrative or anecdotal explorations. Aesthetic choices or claimed militancy, the pink that runs through the exhibition comes in an infinity of hues, ranging from white to red, shading yellow or beige, and sometimes graying to black or purple. Epidermal, carnal or organic, it can be gentle and soothing as much as it suggests energy, strength, even violence. Deeply superficial, it also knows how to take itself seriously in powerful and political works that embody a form of resistance in the power relations that bind us. Resolutely feminist and unquestionably queer, the stigmatic color pink here becomes the flag of margins, that of minorities of gender, sexuality, class, and knows how to go beyond the cliché while (playing) stereotypes. —Kevin Bideaux, curator

50 Nuances de Rose features the work of nearly 50 artists, both French and international, and will include nearly a hundred original works, a large number of which are presented for the first time in France. 50 Nuances de Rose places a wager on diversity and marginality, by choosing to exhibit young and old artists, known and less known, in an alternative space in the heart of Paris.

50 Nuances de Rose

Exposition du 16 au 24 novembre 2018
Vernissage le 15 novembre à partir de 18H
59 RIVOLI, 59, rue de Rivoli, 75001 Paris

Fiber Fetishes
Fiber Fetishes, a solo exhibition featuring 42 fiber sculptures, opens tomorrow at the Morrison Gallery on the University of Minnesota, Morris campus. The exhibition will be on view through October 6th.

The 'Fiber Fetishes' explore the intricate web in/of our reproductive bodies and throughout the natural world. A tangle of coital life, I observe the animate and inanimate—­ovaries, stamens, fertility fetishes, sex toys and contraceptive devices. I endeavor to meld the endless labyrinth of time and sensual memory through repetitive wrapping and stitching.

Suzanna Scott / Fiber Fetishes

Morrison Gallery / Humanities Fine Arts Building
UNM Campus, Morris, Minnesota
September 6 - October 6, 2018
Opening reception: Sept 6th 4:30-6 pm

CHAOS at Ro2

Six of my pieces are included in CHAOS 2018, an annual exhibition of small works at Ro2 Art in Dallas, Texas.

CHAOS promises to be a vibrant, expansive exhibition of intimately scaled artworks from a wide variety of artists. While most of the exhibiting artists hail from the North Texas region, the show will also feature a few prominent artists from around the U.S. and Europe. As in previous years, the artists represented by the gallery are joined by invited guest artists, creating a dynamic unique to Ro2 Art's CHAOSexhibition.

CHAOS 2018
Ro2 Art / 1501 S. Ervay Street, Dallas TX
August 4 to September 8, 2018
Reception, Sat August 4, from 7-10 pm

Still Talking About It

Coin Cunts, vintage coin purses and thread by Suzanna Scott

Paradigm Gallery + Studio is pleased to announce two concurrent exhibitions: Still Standing, a solo show by Lauren Rinaldi, and Still Talking About It, a group exhibition of new works by Danielle Clough, Andrea Farina and Suzanna Scott. On view from July 27, 2018 until September 15, 2018, Still Standing is a focused solo presentation of oil self-portraits, marking a continuation of Rinaldi’s representation of the female form through a personal lens. Still Talking About It, the group exhibition, brings together the works of Clough, Farina and Scott to explore the diversity of women’s collective experiences. Together, these distinct exhibitions explore the personal and universal struggles women face in today’s society.

Still Standing (detail), oil on canvas by Lauren Rinaldi

Still Standing includes twenty-four large and small scale paintings by Lauren Rinaldi. Rinaldi’s delicate brushstrokes and soft coloration do not mask the strength embedded in the portraiture. Most of the works in Still Standing are sourced stills from videos that Rinaldi takes of herself as she gets ready in the morning. These videos act as a basis for her work and help her convey the natural movement often missing from depictions of the female form. While Rinaldi’s portraits are modeled after her own body, they communicate stories of universal importance in our contemporary moment. Focusing closely on particular regions of the body––legs, heads, torsos––Rinaldi detaches the image from the self-portrait, instead offering psychological representations that manifest societal pressures that affect her as a woman, particularly as an artist, mother and civic leader. “These works deal with ideas about what it means to be a woman: the different roles we play, the different stages in our life, the different archetypes that are required of us and the different ways that we are expected to be. Not only expectations that are put on us, but our own expectations that we put on ourselves.” Rinaldi states.

Playgirls, embroidery thread on fabric by Danielle Clough

Also located in the gallery, Still Talking About It, a group exhibition of new works by Danielle Clough, Andrea Farina and Suzanna Scott, showcases the various ways in which contemporary textile art is used to represent the female form. All three artists use their work to explore inclusive ideas of womanhood and feminine identity. Clough’s stylized needlework begins with found vintage images of playboy models. Through her colorful, textured approach and layered dimension, she diverts these images’ original purpose by giving them a new space. Farina’s delicate embroidery on fabric depicts the female form from a more ambiguous approach. The thoughtful subtraction of identifying details creates a more universal figure. Finally, Scott brings twelve new sculptures to Still Talking About It as a part of her Coin Cuntsseries that she began in 2015. Found vintage silk and vinyl coin purses are turned inside-out and stitched to allude to the female anatomy. When discussing the series, Scott says, “A tease to the imagination, these transposed objects challenge our visual and cultural associations of women, money, and power." The series is meant to raise awareness about the social, political, and economic plights of women globally through the powerful imagery.

Cascade, thread on canvas by Andrea Farina

“We’ve organized Still Standing and Still Talking About It with these artists as a way to encourage a conversation that embraces women fully and without judgement. When we talk about the issues that the exhibitions revolve around, objectification, expectation, and inequality, we can find ourselves needing to take a deep breath and a step back. Exhaustion is involved, for sure, but these problems are important and we need to keep talking about them with strength behind our convictions,” says Gallery Co-Founder Sara McCorriston.

Still Standing:
a solo exhibition by Lauren Rinaldi

Still Talking About It:
a group exhibition by Danielle Clough, Suzanna Scott, and Andrea Farina

July 27 – September 15, 2018

Friday, July 27, 2018 5:30 – 10pm

Friday, August 24th • 5:30pm - 10:00pm

Tuesdays, Thursdays, and Saturdays • 12:00pm – 6:00pm
And 7 days a week by appointment: info@paradigm-gallery.com / (267)266-0073

Paradigm Gallery + Studio / 746 S. 4th Street, 1st Floor / Philadelphia, PA 19147

Masur Museum

I’m pleased to have my wall installation, Thumbs Down, included in the 55th Annual Juried Competition at the Masur Museum of Art in Monroe, Louisiana. The museum’s annual event showcases contemporary artists throughout the United States of America working in a variety of mediums. This year’s curator is Joel Parsons, an artist and teacher based in Memphis, where he is the Director of Clough-Hanson Gallery at Rhodes College and Assistant Professor in the department of Art and Art History. His curatorial practice is often collaborative and driven by a desire to bring institutional resources to bear on conversations of equity and marginality.

Participating Artists include John S. E. Alleyne (LA), David Andree (AR), Elizabeth Arden (PA), Ariel Baldwin (IL), LeeLee Brazeal (TX), Amelia Briggs (TN), Kristen Brown (CA), Jesse Butcher (TN), Susan Chambers (AR), Dean Dablow (LA), Douglas Degges (IL), Michael DeLuca (PA), William Dooley (AL), Leah Drake (SC), Ann Marie Fitzsimmons (NJ), Mark Gordon (NC), Robert Gordon (AR), Gao Hang (TX), William Hays (VT), Joseph Holsapple (LA), Gerard Huber (TX), Jennifer Hunt (SC), Manami Ishimura (TX), Perry Johnson (TN), Kevin Jones (LA), Hannah Kozlowski (WV), Neema Lal (NY), Francine LeClercq (NY), George Lorio (MD), Stacy Medaries (LA), PJ Mills (FL), Charles Mintz (OH), Lacy Mitcham (TN), Daniel Moore (LA), Joshua Newth (MO), Stefan Nodarse (IN), Alan Pocaro (IL), Pam Schmidt (CO), Robert Schwieger (IL), Suzanna Scott (LA), Courtney Sennish (CA), Parker Seward (AL), Ricky Sikes (LA), Juvana Soliven (HI), Corrie Steckelberg (MN), Melissa Wilkinson (AR), Liz Zanca (LA).

The 55th Annual Juried Competition
Masur Museum of Art
1400 South Grand Street, Monroe, LA
July 12th — October 13th, 2018
Reception: Friday, Aug 24th, 5:30 - 7:30 pm

The Vavengers

A pair of my Coin Cunt prints will be featured in The Exhibition this month in London. This is an event sponsored by The Vavengers (vagina avengers), a creative community who raises awareness through the arts to tackle and end the practice of FGM (female genital mutilation).

The Exhibition is an evening featuring a variety of artwork based around the female form/experience and several musical performances. The aim is to use art as a vehicle to inspire discussion and bring creatives together to raise awareness for important social issues. All proceeds of The Exhibition will go towards the building of a fistula ward in SOS Mother & Child Hospital in Mogadishu, Somalia where thousands of girls have been disregarded because of FGM inflicted injuries. A simple proceedure is needed to fix a fistula, yet millions of girls are being ostracised because of the lack of understanding and medical attention around the problem. The money raised will ensure girls are given the physical and emotional support required when suffering from a fistula.

The Exhibition
by The Vavengers
Unity Hall, 277A Upper Street, London
Saturday, May 5th, 2018 from 6-10 pm
Tickets available here

Fantastic Fibers

It’s an honor to have an installation of my Fiber Fetishes on display at the Yeiser Art Center in Paducah, Kentucky as part Fantastic Fibers 2018. Opening this Friday, the show is an international juried exhibition that seeks to showcase a wide range of outstanding works related to the fiber medium. One of Yeiser Art Center’s most engaging, innovative & colorful international exhibits, Fantastic Fibers is an inspirational “must see” for fine artists, quilters and textile art enthusiasts across the globe.

This year’s juror, Arturo Alonzo Sandoval, is a fiber artist whose experimental techniques and expressive interpretations have earned him an international reputation. Arturo is one of Kentucky’s most original, influential and significant artists. Because he creates an extensive collection of work his artwork is everywhere. His work is in the collections of the New York City Museum of Modern Art’s Architecture and Design Collection, as well as galleries and private collections throughout the United States and the world.

The show began in 1987 as a wearable art show but has evolved over the years to include a compelling mix of traditional and non-traditional works created from natural or synthetic fibers, and work that addresses the subject or medium of fiber. The Fantastic Fibers exhibit is an American Quilter’s Society sanctioned event and selected works will be seen by thousands of viewers. Paducah becomes a Mecca for quilters and quilt enthusiasts each April as more than 30,000 visitors from across the globe attend AQS QuiltWeek. This year’s AQS QuiltWeek dates are April 18 – 21, 2018.

Fantastic Fibers
Yeiser Art Center
200 Broadway St, Paducah, KY
April 14 - June 9, 2018
Opening Reception: Apr 14th, 5-7 pm

Selected Artists 2018: Jackie Abrams, Dobree Adams, Philis Alvic, Eva Camacho, Marah Carpenter, Gray Caskey, Oxana Dallas, Jan Durham, Caryl Bryer, Jayne Gaskins, Caryl Gaubatz, Paula Giovanini-Morris, Sue Hale, Faith Humphry Hill, Ja Young Hwang, Marguerite Kellam, Patricia Kennedy-Zafred, Mary Ellen Latino, Margaret Leininger, Niraja Lorenz, Margo Macdonald, Lawrence McKenney, Rebekah Miller, Patricia Mink, Chris Motley, Carey Netherton, Kathy Nida, Pat Pauly, Branka Radonic, Michael Rohde, Elizabeth Runyon, Tommye Scanlin, Beth Schnellenberger, Suzanna Scott, Jess Self, Ashley Smith, Tina Struthers, Jill Vendituoli, Beverly Walker, Wendy Weiss, Peggy Wiedemann
No Man's Land

Here's another opportunity to view a collection of my Coin Cunt’s in No Man's Land opening this Friday at The Yard’s Collective in Rochester, NY.

Politits: Art Coalition is proud to announce our second annual exhibition focused on promoting artwork by those who have been historically under-represented throughout the arts, ‘No Man’s Land’. This year, we have accepted work from 40 international artists, focusing on pieces by female-identifying, POC, queer, trans and any other two-spirited folks, that celebrates diversity in practice and strength in vision. Curating a visually diverse, yet cohesive, show that offers much in the way of materiality and topic, we champion ourselves in offering space to artists from Rochester and beyond to exhibit their work without censorship. 
'No Man’s Land'
Politits @ The Yards Collective
50 Public Market Way, Rochester, NY
March 2 — March 21, 2018
Opening reception: March 2 @ 6-11 pm
The Bitters
My wall installation, ’Thumbs Down’, is to be included in ‘The Bitters 2: We’re Fucked’ opening this weekend at Whitdel Arts in Detroit, Michigan. The exhibition will feature a cathartic array of work by over 30 artists from all over our stress-out country.

In times of cynicism, disgust and hopelessness, we look for outlets to express our frustrations, as well as our aspirations for action and change. We decided to take one of our favorite exhibitions and reboot it in this current time of disillusionment and subjective truth. "The Bitters 2: We’re Fucked" explores how we currently cope with lies, greed, conflict, inequality, and paranoia - with all the sarcasm, and overall disenchantment that made the first “The Bitters” exhibition so satisfying.

While all ages are welcome, please know this exhibition might make you laugh, make you uncomfortable or even straight up make you angry. Not all work may be appropriate for young or sensitive viewers.

‘Thumbs Down’ is a not-so-subtle statement on our pussy-grabbing commander-in-chief who loves himself some good ratings and flashes a thumbs up wherever he goes. I cut the thumbs off of a variety of women’s leather gloves. By using gloves of various hues the thumbs represent the range of people who disapprove of the resentful, sexist, bigoted and hateful rhetoric by the president’s campaign and administration. Each ‘thumb’ has been placed on the wall with a T-pin, like a prized specimen of impotency. Stepping back we gaze on a diamond-shaped array of flaccid phalli. This visual display of bad ratings becomes a portal of united hope or at least it makes us chuckle and feel a little bit better for the moment.

The Bitters 2: “We’re Fucked”
Whitdel Arts / 1111 Bellevue St., Suite 110, Detroit, MI
Exhibition dates: February 23rd - April 14th, 2018
Reception: February 23rd, 7-10pm

Recent Press
Fun to make the 'A-list' in the Twin Cities! I’m honored to have my work in a dual exhibition, 'After: Birth', alongside Judy Chicago’sBirth Project: Born Again’. The exhibitions run through March 16th at the Catherine G. Murphy Gallery in St. Paul, Minnesota.

And an interivew feature in the Philadelphia Weekly where I talk about my work, how the 'Coin Cunt's' came about and my personal ties to the city.

After: Birth

Festooned, 2016 by Suzanna Scott

I’m excited to participate in After: Birth, an exhibition of feminist art curated by artist, Jess Larson. The exhibit is running concurrently with Judy Chicago’s Birth Project: Born Again at the Catherine G. Murphy Gallery in St. Paul, Minnesota and is co-sponsored by the Abigail Quigley McCarthy Center for Women.

Guided by the Goddess 55/75, 1985 by Judy Chicago / silkscreen, 30 x 40” / Courtesy: Through the Flower ©Judy Chicago

Judy Chicago's work radically shifted ideas, materials and processes in the feminist art created after The Dinner Party and the Birth Project, giving way to two generations of artists free to explore and challenge the constructs that define them as women and women artists. After: Birth specifically addresses contemporary responses to the concepts of motherhood, sexuality and the role of embroidery, clay, fibers and photography in third-and fourth-wave feminist art.

Solace by Amber Cobb / silicone and blanket

After: Birth
Catherine G. Murphy Gallery
2004 Randolph Avenue St. Paul, MN
February 3 – March 16, 2018
Opening Reception: Saturday, February 3, 6 – 8 p.m.

Social Media + Art
I was recently interviewed by S. Nicole Lane for Exhibitions On The Cusp, an online publication whose purpose is to propel conversations in contemporary arts. The article examines the role of social media and its impact on the studio practice of individual artists, representation and the gallery. You can read the full article hereand find me on Instagram here.
Deemed A Canvas

Paradigm Gallery and HAHA MAG (High on Art, Heavy on Antics), collaborate to bring you Deemed a Canvas, a group exhibition on view January 26 – February 17, 2018.

Deemed A Canvas channels storytelling through a range of artistic mediums. This curation of creators takes a light-hearted look at what happens when artists break away from the starkness of white ground to explore surface with unexpected materials and unconventional methods.

Traditional mediums tossed aside; their work becomes a creatively visual opportunity to converse, to find new and inventive ways of handling space, structure, and content-transforming the material so that it becomes something else than the novelty of the article itself.

Artists Kaplan Bunce, Danielle Clough, Ellen Greene, My Dog Sighs, Bunnie Reiss, Brooks Salzwedel, Suzanna Scott, Ruby Silvious, and Jasjyot Singh Hans use their skills and love of art to develop unique narratives.

The show's collision of perspectives offers the viewer an immersive experience into creative redevelopment that pays reverence to the foundation of concept and innovation.

Deemed A Canvas
January 26 – February 17, 2018
Paradigm Gallery / 746 S 4th Street, 1st Floor, Philadelphia, PA
Opening Reception: Friday, January 26th • 5:30pm - 10:00pm
Gallery Hours: Tuesdays, Thursdays, and Saturdays • 12:00pm – 6:00pm

The Price of FGM

Sharing this impactful 28 Too Many ad campaign aimed to raise awareness of the real price of FGM (female genital mutilation). Paul Gregson and Jono Flannery, a creative duo, designed this powerful ad campaign using my Coin Cunt images.

FGM is a harmful traditional practice involving the cutting or removal of the external female genitalia. It has existed for more than 2,000 years and is performed on girls from birth, up to just before marriage, and sometimes beyond.

It is estimated that more than 200 million girls and women alive today have undergone female genital mutilation in the countries where the practice is concentrated. Furthermore, there are an estimated 3 million girls at risk of undergoing female genital mutilation every year. The majority of girls are cut before they turn 15 years old. FGM has been documented in at least 30 countries, mainly in Africa, as well as in the Middle East and Asia. It is also prevalent in diaspora communities around the world, even in the United States.

For traditional cutters, FGM is their livelihood. It is often seen as a lucrative job. But for girls and women it can lead to psychological problems, higher risk of infections & HIV, pain during sex, complications & even death in pregnancy or childbirth. While some are making money out of FGM, it's quite clear who pays the real price.

The British based organization 28 Too Many is dedicated to ending female genital mutilation everywhere. Their work focuses on the 28 African countries where it is practiced and in many other countries where it continues, often in spite of laws against it. Please visit 28 Too Many to find out how you can help end this horrific practice and save the futures of so many young girls.

I'm delighted to have my flesh colored grouping of Coin Cunts included in Vulvacular, a timely exhibition celebrating the rise of the vulva at Ceres Gallery in New York City. Artist/curators Susan Kaplow and Pam Shields have brought together the work of 19 artists whose take on the vulva is hilarious, sexy, poignant, searing and political. Works from the gallery show may also be viewed via the exhibition website.

In conjunction with Vulvacular, Ceres Gallery will present a free screening of VULVA 3.0, a documentary surveying attitudes towards female genitals through history to the present. Vulva 3.0 demonstrates the current attacks on and degradation of the vulva and the forms of resistance to these attacks by educators, scholars and activists. Three artists will comment after the film, highlighting the ways in which their art practice is another form of resistance.

Ceres Gallery
545 W. 27th St. #201 / New York, NY

October 31 - November 25, 2017
Reception: Thursday, Nov 2nd, 6-8 pm
Vulva 3.0 Screening: Wednesday, Nov 8th, 7-9 pm

IDAFT: Los Angeles

Whitney Bell's I Didn't Ask For This: A Lifetime Of Dick Pics is back, this time in her hometown of Los Angeles, California. She is hosting the weekend event with the goal of exposing the normalization of misogyny and confronting the issue of sexual harassment in the digital age. In addition to a Friday night Penis Party, featuring a plethora of unsolicited dick pics staged in the comfort of her own home, Whitney has invited a kickass line-up of feminists to join discussion panels on Saturday. The topics include 'Feminism 101 For Men', 'Harassment In The Digital Era' and 'The Intersection of Feminism & Pornography'. Shirley Manson, the front woman of Garbage, is one of the panelists.

Along with the installation featuring Whitney's collection of unsolicited dick pics, I Didn't Ask For This will exhibit the work of a diverse mix of over 20 artists who span the spectrums of gender, race, and sexuality to give an intersectional perspective to sexual harassment in the digital age. In addition to a grouping of my Coin Cunt's, my newest installation piece dubbed Thumbs Down will be making its debut. Thumbs Down was created using the thumbs of vintage women's gloves. It is a not so subtle statement on the flaccid performance of our pussy-grabber-in-chief.

I Didn't Ask For This: A Lifetime Of Dick Pics
Think Tank Gallery / Los Angeles, CA
Friday Oct 6, 8-1am & Saturday Oct 7, 12pm-6pm
Tickets Available Here

Seen and Heard

Protest by Lena Rushing

Earlier this year I was invited by artist and curator Lena Rushing to participate in Seen And Heard, an exhibit paying homage to the women's rights movement. Included in the exhibition are a grouping of my Fiber Fetishes, interactive Bound Scissors, and a new wall sculpture created specifically for this show titled Out Of Reach.

I spent the first part of the year scavenging up all the vintage women's gloves I could find in order to create Out Of Reach. In the sculpture, I stitched the fingers from these various gloves onto a metal grate to form a compact, round cluster reminiscent of a breast. The piece represents the hands of all the women who have strived, fought, toiled, and persisted in the ongoing fight for equality for all. We celebrate those before us and join hands as we move forward together--reaching out and shattering those glass ceilings.
Designed to celebrate the efforts and accomplishments of women, the importance of the women’s rights movement, feminism, and the strength, independence, and bravery of women, Seen And Heard offers a powerful collection of artwork by eight nationally-acclaimed artists: Alise Anderson, Donna Bates, Kristin Bauer, Gabriela Handal, Sara E. Morales-Morgan, Meryl Pataky, Lena Rushing and Suzanna Scott.

Seen And Heard
Studios on the Park / Atrium Gallery
1130 Pine Street, Paso Robles, CA
September 28 - October 22, 2017
Opening Reception: October 7th, 6-9 pm

Le Papier
Thirteen of my works on paper are included in Le Papier, an invitational exhibition of contemporary drawings and paper-made pieces in all forms and dimensions. I must extend a word of thanks to the staff at Dunedin Fine Art Center for all the precautions they took to protect artwork during Hurricane Irma two weeks ago. The exhibition was slated to open earlier this month, but the opening was postponed due to the impending hurricane. Despite plywood boarding up the damaged gallery windows the show is back on the walls and opens this Friday.

In the group exhibition, Le Papier, seven artists present works on (and of) paper. See the watercolors of Caitlin Albritton, Eva Avenue and Kristin Beauvoir. Paintings by Leslie Fry and Laine Nixon and the collages of Suzanna Scott. Finally, we remember painter, sculptor, printmaker + visionary, Roland Poska who died earlier this year. Poska had a solo show at DFAC in 2005 of his extraordinary pulp paintings and sculptures. Here, a small sampling of his enormous heart and soul, return to us.

Le Papier
Dunedin Fine Art Center
1143 Michigan Blvd., Dunedin FL
September 22 - December 24, 2017
Opening Reception: Friday, Sept 22nd 6-9pm

L'Origine du Monde
In 1866 an Ottoman diplomat commissioned one of the most infamous paintings ever by French artist Gustav Courbet: 'L’Origine du monde' ('The Origin of the World'). The painting still to this day because of its very nature and realistic, graphic nudity, has the power to shock and trigger censorship. It pushed the idea of what is erotic, sensual and romantic to what is pornographic and unmoral.

"Eroticism is dependent not just upon an individual's
sexual morality, but also the culture and time
in which an individual resides.”
- Honore’ de Balzac

This exhibition brings together twenty-two artists, both local and International, with over sixty works of art ranging from painting and drawing to photography and sculpture. The show explores the ideas of sexuality, sensualism, romance, humor, innuendo and eroticism.

L'Origine Du Monde
Scarlet Seven Fine Art Gallery
137 4th Street, Troy, NY
August 25th - September 24, 2017
Reception: Friday, August 25th from 6-9pm

Exhibiting Artists: Michael Bergt, Nina Covington, Daniel Maidman, Reuben Negron, Julie Branch, Suzanna Scott, Colleen Lynch, Gary Masline, Mary Ellen Riell, Emily Lamb, Jeanne Ciravolo, Jon Gernon, Jeff Wigman, Yeachin Tsai, Jilian Platt, Frida Castelli, Corey Pitkin, Andrea Hersh, Rachel Gibson, Louis Braquet, Michael Bach, Chad Span
I Didn't Ask For This
Whitney Bell is a writer, artist, activist, fashion-designer and self-dubbed 'feminist bitch'. When she approached me about participating in this event I had to pause and re-read the intent of the exhibit before responding with a 'hell yes!'. This conversation is a little off-putting, provocative on so many fronts and most often kept from public discourse. The content of 'I Didn't Ask For This: A Lifetime of Dick Pics' is an unsolicited collection of male groin images that have been framed up in mis-matched vintage frames and placed in a reconstructed tableau of Whitney's cozy home.

As Whitney remarks in this interview she wants to "demonstrate the pervasive and invading nature of digital harassment. The content is relatable to so many women, which proves the necessity of opening up this discussion. The unsolicited dick pic is horrible, but what's worse is the fact that this is how little respect many men have for women," she says. "We think we have come so far but misogyny is just a prevalent as ever — whether that be a dick pic in your inbox, or a pussy grab from the president."

Along with the installation featuring the collection of unsolicited dick pics 'I Didn't Ask For This' will feature the work of a diverse mix of artists who span the spectrums of gender, race, and sexuality to give an intersectional perspective to sexual harassment in the digital age.

I Didn't Ask For This: A Lifetime Of Dick Pics
SOMArts Cultural Center • San Fransciso, CA
Friday, June 9th • 7pm - Midnight PDT
AND Saturday, June 10th • 11am - 4pm
Tickets Available Here

Glasshouse Interview
Lucy Vincent of Glasshouse Journal recently interviewed me over on their blog if you want to take a peek. The image featured here is 'Drip Drop' one of several new collage pieces up on my website.
Flora, Fauna & Entrails
I'm excited to announce the inaugural exhibit of my Fiber Fetishes collection and work here in our new home state of Louisiana. The family and I will be attending the opening this weekend so if you're in the New Orleans area please stop by, take a gander at all the fiber art and say hello!

Fabric and thread are inextricably bound to our everyday lives. Flora, Fauna, and Entrails brings together artists using fibers in their practice to explore the beauty and fragility of the nature around them. Flora, Fauna, and Entrails is Antenna’s fourth exhibition exploring the work of artists that expand on the potential of fiber in contemporary art practices while still being steeped in craft traditions.

Antenna presents:
Flora, Fauna, and Entrails
3718 St. Claude St, New Orleans
On view: April 8 – May 7, 2017
Opening Reception: Saturday April 8, 6-10pm
Daily hours: Tuesday through Sunday 12-5 

UPDATE // A few images from the opening night. Also, several more pictures of the exhibition posted here.
Lee mis laVios

A grouping of twenty Coin Cunts are in Mexico City for their international debut in the exhibition lee mis laVios. This clever show title is a play on words meaning 'read my lips' with the capital letter 'V' symbolizing the vulva.

The exhibition, lee mis laVios, chooses to undress the vagina from its prejudices, fetishes and desires, aiming for the acceptance of its sexual naturalization.

Throughout traditional art history the vagina has been systematically excluded, its representations either fade under a translucent veil or are replaced by a sexless pubis. This absence of detail has transformed it into an obscene and indiscreet symbol.

The gesture of symbolizing the vagina becomes an excuse to avoid it. Masculine gaze has constructed a specific imagery around it, based on simultaneous desire-censorship and summing it up through fertility symbols, objects of desire or immoral impurities. Its materialization is either morbid or symbolic. Indeed, vaginas have lost their right to (re)present themselves.

Lee mis laVios unveils the vagina from its prejudices in order to confront it as it is. By analyzing its allegorical connections we deconstruct the structure that surrounds it.

Read my lips: a vagina is more than anything, a vagina. It does not require any validation by dignifying it through symbols. The vagina exists as it is, dignified and worthy of its being. Now it's time to make this evident. 
Participating artists include Jamie Martinez, Maisie Cousins, Suzanna Scott, Rosa Borras, Sara Lorusso and Los Ninxs.
Playing With Scissors

Thought I'd share a few images of my Bound Scissors out in the wild. Playing with scissors is a safe activity as long as they're bound and stitched up tight! I'm pleased that this interactive piece has now been exhibited in three venues, a year ago in Touch: Interactive Craft, this past January in Material As Medium, and this weekend as part of Play, an all media exhibition at the SAA Collective in Springfield, Illinois.

The exhibition Play was juried by Bob Sill, a curator of art at Illinois State Museum. Play is the spontaneous, unstructured time found to foster creativity and problem-solving skills. As we grow up we tend to trivialize play and relegate it to childhood, but it’s an important element of life at any age. The exhibit features work not only about play in the traditional sense, but also the idea of being in the moment, of inspiring wonder, of invoking your natural curiosity. The viewers are encouraged to interact and play with many of the pieces on exhibit.

PLAY: All Media Exhibition
SAA Collective / H.D. Smith Gallery / Springfield, IL

March 10 - 31, 2017
Opening reception March 11 / 5:30 - 7:30 pm

Participating artists are Bruce Alves, Lex Archibald, Piety Choi, Betsy Dollar, Lauren Feret, Cathy Ganschinietz, John Hayes, Tessa Martinez, Corrin Smithson McWhirter, Beth Rodgers and Suzanna Scott.

Image by Adele Stuckey

Image by Leslie Mounaime 

Image by Katie Riggs

Image by SAA Collective

Image by Emma Wilson

A big thanks to all of you who've shared your arrangements of Bound Scissors via social media. #boundscissorproject
Duality Of Feminine
My collection of red (and a few purple) Coin Cunts will be on view during the month of March at Gallery 66 NY in Cold Spring, New York. The exhibition, Duality of Feminine and Feminist, was juried by artist/curator Karen Gutfreund. These are some of the questions the artists were asked to ponder:

Endless news cycles emphasize the fragmentary nature of our present society and a divided nations’ opposition to a single logic or subject. With this in mind, how do women balance the duality of feminine and feminist? Should we be concerned with the manner in which a woman is portrayed as strong and/or feminine? In recent cultural movements, the ramifications of mixed gender attributes seemed to be growing in popularity yet with the recent elections and threats to women’s rights in particular, are we going backwards. This ability to carry the strengths of both genders is empowering but are we now dealing with a backlash? Is the current political atmosphere an attempt to return to the stereotypical view of women as submissive and passive?

Duality of Feminine and Feminist
Gallery 66 NY / Cold Spring, NY
March 3rd – April 2nd
Opening reception, March 3rd 6-9 pm

Artworks in the Duality of Feminine and Feminist exhibit are varied with works on paper, glass, collage, porcelain, photography, painting, fabric, assemblage, appropriated imagery and mixed media, with messages just as varied. The artists participating in this exhibit are from across the nation and include works by Torey Akers, Audrey Bernstein, Sarah Eagen, Sally Edelstein, Leslie Fandrich, Morgan Ford Willingham, Colleen Gahrmann, Lucy Julia Hale, Amy Hughes, Marie-Laure Ilie, Blond Jenny, Joan Lesikin, Lisa Levart, Sally Ann McKinsey Sisk, Jillian Nalty, Landon Newton, Antonella Piemontese, Jessica Putnam-Phillips, Suzanna Scott, Samantha Senack, Rosalind Shaffer, Allegra Shunk, Susan Singer, Dafna Steinberg, Gail Stouffer, Terrill Warrenburg, Jennifer Weigel, Galelyn Williams and Meghan Willis.
Wage On!
WAGE ON! Women, Art, and Money will be the featured national exhibition of the 2017 Women’s Caucus for Art national conference in New York City. Hosted at Ceres Gallery, the exhibition offers a timely opportunity to address the impact of a changing political and economic landscape on women and art through the lens of twenty artists selected by juror Helga Christoffersen, an assistant curator at the New Museum. As she remarked:

I looked to works that took on issues of woman’s work, rights, and identity today, in ways that speak to fundamental underlying issues in our society that affect us all. This exhibition is an important initiative and an example of a way to bring together a broad range of voices, opinions, and practices under a united and urgent cause.

My grouping of fourteen 'Coin Cunts' was selected to be included in the exhibition which runs through February 25th.

WCA will host public Artists Reception on Thursday, February 16 from 6-8 pm. A full-color catalogue will accompany the exhibition and is available for purchase here.
About the Women's Caucus For Art: Founded in 1972, the Women's Caucus For Art is the leading national organization for women engaged in the visual arts professions, an affiliated society of the College Art Association, a founding partner of The Feminist Art Project and a United Nations NGO. The mission of the Women's Caucus for Art is to create community through art, education, and social activism.
New Prints
In light of recent political events here in the United States my series of Coin Cunts has continued to gain interest and raise awareness of women's issues on many different fronts. Women around the world are fighting back and speaking out in multitudes to challenge the rise of misogynist, racist, and ignorant rhetoric that is dominating the cycle of our lives. I continue to seek out used kisslock coin purses with colorful and/or interesting interiors to grow the collection--it currently numbers over 100 pieces!

Since the first print has sold out--I've picked two new Coin Cunt images to make available as limited edition prints. The proceeds from these prints will continue to fund the growth of this project and its exhibition. You can purchase the new prints here.

Love & Empathy
Since November 10th, these words have been ringing in my ears, "To all the little girls watching...never doubt that you are valuable and powerful & deserving of every chance & opportunity in the world". --Hillary Clinton

On Saturday we joined with millions of others around the world for a "sister march" of the Women's March On Washington in Shreveport, Louisiana.

As we gathered on the sidewalk of the courthouse to march we met friendly folks of all generations. Many approached Lizzie to tell her they came today to march for her and for her generation. They told her they were proud of her for marching for what she believes in. They told her she was beautiful. I thank these kind strangers for empowering her.

My daughter is young and on the cusp of womanhood. She has so many questions, she is confused about the hateful rhetoric flying around the news and social media. She wants to do something to make it stop and to show love and empathy towards others.

Together we read the mission statement and like a wave it echoed through the crowd lined around the courthouse. Together we took a first step and we marched. Hear our voice!

Material As Medium
Two of my fiber works will be included in Material as Medium at the Target Gallery in Alexandria, Virginia. My tactile collection of Bound Scissors and recent wall sculpture, Lifeline will be on display along with the work of fifteen other fiber artists. The exhibition explores the future of contemporary fiber and textile art using traditional materials in a new context, or unconventional materials in a more traditional form. The juror for this exhibition is Aaron McIntosh.

Participating fiber artists:
Meg Arsenovic, Richmond, VA
Emma Balder, Denver, CO
Diana Baumbach, Laramie, WY
Arisa Brown, Everett, WA
Danielle Burke, Black Mountain, NC
Brooks Dierdorff, Orlando, FL
Julia Gartrell, Durham, NC
Lindsay Hall, Arlington, VA
Krista Heinitz, Eugene, OR
Hannah Hiaasen, Brooklyn, NY
Kathleen Kennedy, Mechanicsville, VA
Tiffany Lange, Menomonie, WI
Matthew Paulson, Rockaway Beach, NY
Suzanna Scott, Ruston, LA
Meaghan Westfall, Rock Hill, SC
Katie Westmoreland, Brooklyn, NY

Material As Medium exhibition at Torpedo Factory's Target Gallery, 2016

Reform: Subversive Fashion

Last month I finished stitching over 100 'Coin Cunts' and shipped them off to Albuquerque, New Mexico. They will be included, along with work by four other artists, in an exciting counter-culture fashion exhibition opening Friday at Central Features Contemporary Art. This will be the largest installation of the 'Coin Cunts' thus far.

Photo by @clarkehere Clarke Condé

Missouri-based artist Suzanna Scott challenges visual and societal perceptions with Coin Cunts, a collection of coin purses. By turning each purse inside out to reveal and reform the different interior linings, Scott teases the imagination and sparks conversation about the ties amongst sexuality, gender, money, and fashion.

Nancy Zastudil, Central Features Contemporary Art
Contemporary fashion is in question and on display this Fall season at Central Features Contemporary Art. Cross programming and promotion is presented in conjunction with the exhibition ReFashion at form & concept in Santa Fe, NM. ReForm: Subversive Fashion is an exhibition of select garments, accessories, and other adornments that thwart conventional expectations. The exhibition features JUMPSUIT by The Rational Dress Society, an installation by Suzanna Scott, an interactive dress by Nina Silfverberg, collages by Kirsten Stolle, and new textile work by Sarah Wagner
August 26 - September 30
Central Features Contemporary Art
514 Central Ave SW #2, Albuquerque, NM
Opening Reception on Aug 26th, 6-8pm

Embrace rational dress! @rational_dress_society JUMPSUIT-making workshop held as part of the exhibition.

All exhibition images courtesy of Nancy Zastudil, 2016.

Fiber Options

Cheese Box of Vulvas by Susan Hensel and Plexus by Suzanna Scott

I'm pleased to share that one of my fiber pieces, Plexus, is included in the exhibition Fiber Options: Material Explorations at the Maryland Federation of the Arts Circle Gallery. The show is comprised of seventy-two works using fiber in varied range of material and application. It is a wonderful collection of contemporary fiber works.

Getting To Quiet by Laurie LeBreton

From hand-knit pieces felted into sculptural monuments to video monitors shrouded in hooded sweatshirts, the options in fiber are limitless. Combining an array of materials, both traditional and unexpected, with historic to digital techniques, the artists of Fiber Options: Material Exploration exhibit artistry, innovation, and emotion. Precisely pieced quilts, meticulously knotted vessels, and delicately dyed silks are a few examples of the supreme skill and dexterity employed over countless hours by these artists. Oftentimes, several skills appear in a singular piece: stitched still lifes on hand-dyed cotton or fabric and thread encased in encaustic, all demonstrate supreme artistry.

Innovation commingles with tradition in a quilt deliberately severed into quadrants or sweetly stitched flowers paired with a expertly embroidered dead cockroach. Several artists reinvent conventional notions of fiber art by including unexpected materials. Typewriter ribbon and VHS cassette tape replace wool and linen in woven constructions. Fiber is no longer precious with roofing nails driven into silk and sticks set afire dangerously near hand-painted ropes. Technological advances provide artists with the ability to print on fabrics and digitize embroidery, opening up new options in the world of fiber.

Beyond the tangible, emotion and character can be observed in the stab of the needle, throw of the weaving shuttle, submersion of fabric into dye, and sometimes, sorrow and devastation literally spill forth onto the floor. Steadfast resolve surfaces in a hyper-realistic embroidered black eye while vulnerability lingers in a threadbare cloth. Clothing carries deep-rooted symbolism—a hooded sweatshirt, a bridal veil, a Hijab—and immediately conjure a range of emotions and viewpoints.

Fiber speaks to us in so many ways. It can be intricately detailed or all encompassing, traditionally constructed or surprisingly innovative, intimately displayed or globally outspoken. The options in fiber are endless.

Susanna Fields-Kuehl, juror

Big Flower by Lisa Marie Barber

MFA Circle Gallery
Annapolis, Maryland
July 14 - August 6
Opening Reception: July 24th, 3-5 pm
Coin Cunt Print

The Coin Cunt project began innocently last summer when I was playing around with an old coin purse. I flipped it inside out and saw a vaginal form emerge from my playful pinching and tucking. Using a needle and thread I stitched it into place. As I thought about it, I found so much association between the little pocket-like forms and the inferred suggestions that these new objects brought to mind.

I began sharing the Coin Cunts on social media and am amazed at the feedback it has provided. With a simple alteration these ubiquitous objects became evocative and their appeal provocative when I dubbed them Coin Cunts. Aside from the chuckles, I've found that others can see in this project our assumed cultural associations of money and women, female genital mutilation, suppression of women, gender equality, body image ideals, equal pay, and the list continues to grow.

Ever since the Coin Cunt images began making their rounds on social media I've had to turn down numerous purchase requests. My goal with this project is to grow the collection until I have a large installation of 100 or more. In order to finance the rest of this project and give you an opportunity to enjoy this image on a daily basis, I'm offering a limited edition of 25 pigment prints for purchase.

Josh Stone, SV#3B, 2015, HD Video

Another venue for a second grouping of my Coin Cunts presented itself this month: QUICKSAND, a pop-up exhibit at the New Art Center in Newton, MA, features work that disrupts expectation by erasing, covering, and fracturing the human form, asking broader questions about the spectrum of cultural visibility. Through the lens of a fragmentary experience, the body becomes an allusion, goes missing, or is present as a mere impression. The figure on view here is unstable, like quicksand, and contends with the boundaries of identity, territory, and the negation of the body through technology.


April 29 - May 8, 2016
A MassArt Production at The New Art Center, Newton MA
Reception: Friday April 29th, 6pm-8pm
Featured artists include Salome Asega, Casey Ausman, Bashezo, AK Burns, Carlos Jimenez Cahua, Caleb Cole, Furen Dai, Allison M. Disher, Janet Loren Hill, Pope L., Curtis Mann, Susan Metrican, Alyssa Minahan, Landon Newton, Diana Jean Puglisi, John Robert Roy, Suzanna Scott, Corinne Spencer, Josh Stone, Triiibe, Xtina Wang, Xu Wang, Joe Zane

The exhibit has been organized by the Massachusetts College of Art and Design’s Graduate Seminar in Curatorial Practice class taught by Dina Deitsch.

The Female Complex
My Coin Cunt collection has taken on a life of its own thanks to the wonders of social media. I've been invited by artist, Kristin Mahan to participate in The Female Complex at the University of Nebraska-Lincoln where these twenty-eight fiber pieces will be making their debut. The vaginal shaped works are sculpted from inside-out coin purses.

Feminism is nothing new-it has been around for more than a century-so why is it still so important to this day? As society progresses and the older waves of feminism accomplish much of what they set out to do, problems that were always there but never dealt with have begun to rise to the surface. "The Female Complex" will present the multiplicity of the emerging wave of feminism through contemporary art. Each of the 12 artists presented uses personal experiences to inform their work, which allows the work to be honest. The wide variety of mediums and subject matter in this exhibition will form a dialogue that reflects the diversity of issues placed under the umbrella of this developing feminist movement.

Kristin Mahan, curator
Participating artists include Samantha Aasen, Brooke Denton, Jeanne Donegan, Tessa Edgren, Lisa Guevara, Sheree Haynie, Katie Hovencamp, Kayla Linden, Roberta Malkin, Sidney Mullis, Claudia Rose, and Suzanna Scott
Ignoble In Between
Six of my Fiber Fetishes were selected by artist Mandy Cano Villalobos to be included in an exhibition at a SiTE:LAB event in Grand Rapids, Michigan. The exhibit, Ignoble in Between is based upon the mundane gaps that occupy the space between when we are born and when we die, the exhibition exploring the idea of beauty as a by-product of happenstance.
"Though we long for the heroic, for our friends and followers to “like” (or heart) our significant contributions to internet society, though we yearn for some sort of affirmation that we really matter within the larger context, it is everyday tedium that dominates our time. Our days are filled with to-do lists, dirty clothes, longings that will never be fulfilled, and bad breath. The artists of Ignoble in Between embrace the mundane passage of time, reveling in transient thoughts and physical decay, with happenstantially beautiful results." --Mandy Cano Villalobos, curator

Ignoble in Between will feature the work of nine artists and is one of six simultaneous exhibits in the unique setting of abandoned auto shop garage bays. The Auto Shop shows are part of a larger joint venture, called the Rumsey Street Project, between the volunteer art organization known as SiTE:LAB and Habitat for Humanity which finds under-utilized buildings and transforms them into art projects.
333 Rumsey St SW, Grand Rapids, Michigan
Saturday, April 9th, 12-9 pm

Carlos Aceves, Erin Curry, Molly Kaderka, Andy Kincaid,
Billy Mayer, Dennis Ritter, Suzanna Scott, Soo Shin, Danielle Wyckoff

Women In The Arts

My rope sculpture, Raw Guts, will be included in the 23rd annual Women in the Arts show highlighting the work of sixteen talented women artists. In conjunction with Women’s History Month at the University of Missouri, the Craft Studio presents this exhibit as a tribute to women, past, present, and future whose artistic creations are often overlooked and forgotten.

The artists of this exhibition have, like all good artists, made what they know. Their experiences, methods, and styles are diverse and lovely. Georgia O’Keeffe wrote, 'I find that I have painted my life, things happening in my life – without knowing it.' I am encouraged and impressed that the women showing work here have dealt boldly with the imagery of their lives.

Hannah Reeves, Juror

Monday, February 29th – Friday, March 25th
Reception: Thursday, March 3rd, 4 pm– 6pm
Participating artists include Hannah Arslanian, Jessica Bremehr, Valerie Deveraux, Lisa Franko, Sarah Goodnow Riley-Land, Jennifer Halli, Kaitlin Hermann, Carina Jimenez, Hae-jung Larsen, Sheri Parker, Nicole Pratte, Shirin Rastin, Kest Schwartzman, Suzanna Scott, Rhonda Thomas-Urdang and Sabrina Tinsley.
Draw The Line

There are 1,865 tally marks embroidered on this light blue cotton square. I'm mailing it off today to join with others in speaking out for the reproductive rights of women. It will be one of many squares in a collaborative quilt being created to raise awareness for Whole Woman's Health v. Hellerstedt and the 5.4 million women of reproductive age in TX. Read more about the ambitious project that artist Chi Nguyen has envisioned to make a physical tally of women whose right to safe and legal abortion is currently at risk. With each stitched line representing an individual woman, the 5.4 Million and Counting project is only finished when all 5.4 million lines are embroidered. Many more quilt squares are needed! Details of how to participate here.

A portion of the quilt being stitched together at the Textile Arts Center in New York with 300,000 embroidered lines in just 3 weeks and submissions from 34 states and 6 countries. Photo by Chi Nguyen.

The 5.4 Million and Counting quilt held by brave women and men who came out to defend our constitutional right to abortion in front of the Supreme Court House on March 2nd, 2016. Photo by Chi Nguyen.

Touch: Interactive Craft
I'm pleased to announce that my collection, Bound Scissors, will be included in an upcoming exhibit at the Arrowmont Galleries in Gatlinburg, Tennessee. Touch: Interactive Craft will be a unique experience as the premise of the exhibit is to encourage the viewer to touch and interact with the work.

Touch: Interactive Craft
January 16 – March 11, 2016
Opening reception: Friday January 22, 5:00 – 8:00pm, Juror Talk at 7:00pm

Small Works

My book collage, Pearl, was selected to be part of Small Works 2015 at Main Street Arts in Clifton Springs, New York. The exhibit will feature 260 works of art in a variety of media by 148 artists from across the country. If you live in Upstate New York it's a beautiful gallery to visit and this show is certain to be chock-ful of unique, affordable art.

Small Works 2015
November 7–December 29, 2015
Opening Reception: Saturday Nov. 7, 4-7 pm
Gallery Hours: Tues–Thurs, 11 am –6 pm & Fri/Sat, 11 am –7 pm

Fresh Space, New Blog

A collection of objects on my studio wall.

With this fresh space, I've decided to move my blog as well. It only makes sense to have things gathered into one place. If you have not done so I'd love for you to join my mailing list and/or the RSS feed for this space. Please direct all comments or questions about my work to me via email. Thank you for following and looking!