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Meet the Newest Artist Resident at MoM: Marin Sardy

We are excited to announce our newest Guest Artist in Residence, Marin Sardy! Marin is a critically acclaimed author who is currently working on her second novel.

Headshot of Marin Sardy

Q: What is your connection to m/otherhood as an artist?

A: I love the way this question is phrased, with the word that highlights both “motherhood” and “other-hood.” I’m a writer of memoir, personal essays, and other forms of creative nonfiction, and my connection to both of the above concepts centers on my explorations of mental health, caregiving, and disability justice. As the daughter and sister of two people who struggled with serious, chronic mental illness, I wrote my first memoir, The Edge of Every Day, to examine the ways that I have strived to understand their experiences, worked to help them, and been shaped by loss. My current work is more focused on dismantling the deeply ingrained cultural attitudes that continue to prevent people from seeking and receiving effective, respectful mental health care. I’d like to add too that, while I haven’t written about it, I am also a stepmother. In both of these roles, I am and have been “mother-adjacent” in ways that I believe ought to be honored and valued in the face of the too-narrow box that motherhood has often been confined to.

Q: What do you hope to accomplish during your residency?

A: I plan to make as much progress as I can on my second book, which folds together stories from the lives of two very different women who lived with long-term psychosis: an art photographer whose work I admire, and my mother. I am currently focused on completing a full draft of the portions that relate to my mother, and my role as a daughter who was pushed into, and later embraced, acting as a caregiver for her. I’m interested in questions such as: What does it mean to be a caregiver in a mental health context, when the work involved is so often intangible? What kind of support might have helped both of us to live our lives more fully and safely? And what does this mean for me, as a daughter who spent so much time mothering a mother who had, in my youth, so dramatically failed to mother me? What (if anything) did my mother owe me, and what was it fair or unfair to ask of her?

Q: What led you to MoM and the residency program here?

A: I discovered Mom when I saw former MoM resident Tracy Sidesinger’s post on Instagram announcing that she had been accepted for the residency! Having never heard of the organization, I did a bit of research and quickly decided to apply myself. I was inspired by the museum’s desire to promote community and to both explore and support motherhood in all its facets. It just felt like it made sense for me to try to connect with the organization. Tracy in fact had been a student in an online nonfiction writing course I taught through Catapult a few years ago, and I’m grateful that I stayed in touch with her through social media—partly because her fascinating, thoughtful Instagram account is so  full of wisdom and depth, and partly because she led me to reach out to MoM. 

Continue reading to find out more about Marin.

Marin Sardy is the author of the critically acclaimed memoir The Edge of Every Day: Sketches of Schizophrenia (2019). Sardy’s essays have appeared in the New YorkerTin House, Guernica, the Paris Review Daily, the Missouri Review, and many other journals, as well as in two award-winning photography books. A Pushcart Prize nominee, Sardy has three times had her work listed as “notable” in the Best American series, and she has been awarded residency fellowships at Hawthornden Castle and Catwalk Institute. She holds an MFA from Columbia University and teaches nonfiction writing for Pace University and Authors Publish.

If you are interested in applying for a guest residency here at MoM, please go to our website HERE: https://bit.ly/3uRgugm  to find out more. BE SURE TO HURRY! Spots have been filling FAST! We hope that future tours of the space will be available soon, but they are by appointment only in Artist Enclave Historic Kenwood: “where art lives.”

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Blog Caregiving Education Events Featured health International Media motherhood Policy Residency Sociology Spiritual Motherhood

Hurricanes and the World Today

Many of us have been shocked by recent world developments in the environment, social climate, and in economics. This week’s hurricane was a brutal reminder of just how devastating and close to home natural disasters can be.

Fortunately, MoM made it out of the storm relatively unscathed, but we still have many concerns for our Florida neighbors as well as those in dire situations across the globe.

In times of great upheaval, in addition to reacting appropriately, many of us also take time to examine our lives, our decisions, and current directions. Should I stay? Should I go? What can I do to make a difference?

Right now, while many within a hundred miles will be digging out of debris, and as we conduct our own onsite cleanup, MoM will persevere with a mission of hosting conversations, gatherings, and forums on what is going right, and what is going wrong, on our planet today.

Our recent residency with sociology fellow Amanda Watson, has been postponed due to the effects of Ian, however we will still hold a roundtable focus group on Wednesday, October 5th 7:30-8:30PM EST, on “children in the face of climate change and reproductive inequity.”

Please join us in our online community Zoom. RSVPs are welcome. In the meantime, please do hold strong. MoM Loves You!

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Blog Caregiving Education Featured Artists gender Residency

Meet the Newest Artist Resident at MoM: Amanda Watson

We are excited to announce our newest Guest Artist in Residence, Amanda Watson! To gain more insight into who Amanda is as a mother-scholar and to better understand her goals here during her residency, Amanda shared the following:

Headshot of Amanda Watson
Headshot of Amanda Watson

Q: What do you hope to accomplish during your residency?

A: For the past few years of pandemic-era mothering, my research and writing have been conducted sporadically, in piecemeal ways, and in stressful conditions. I hope to make space for my research and writing in this residency in order to analyze new data with fresh eyes and write about it with renewed vision for my purpose as a writer, scholar, and mother.

Q: What led you to MoM and the residency program here?

A: I shared research on motherhood at the MoM in Manhattan nearly a decade ago as a graduate student before becoming a parent myself. The cozy space and warm interactions with community members and diverse scholars and practitioners made an impression on me I have always been interested in returning to MoM. On a recent visit to New York City, I found out about the residency in Florida and applied immediately. It seems like the perfect offering for artists and academics who need to make space for their creative ideas and practices to flourish, particularly as mothers coming out of pandemic isolation having spent so much time doing caregiving.

Continue reading to find out more about Amanda.

Dr. Amanda Watson’s research explores how caregivers and community activists navigate complex institutional settings in their efforts to effect social change. Her interests include care, labour, disability, media representation of motherhood. She teaches on politics of family, global problems and the culture of capitalism, and power and conflict in Canadian society. Watson is an Associate Member of the Department of Gender, Sexuality, and Women’s Studies. She serves on the editorial board of Gender & Society.

Current projects include Politics of Birthstrike, exploring how young adults reconcile their desires for ethical family life with resurging population control initiatives to reduce their climate footprint by having fewer children; Imagine Kin Project, investigating how young adults talk about their future relations in the context of interlocking crises; and Politics of Social Justice Parenting, new research exploring the experiences of parents of young children through pandemic closures and trends in parenting.

If you are interested in applying for a guest residency here at MoM, please go to our website HERE: https://bit.ly/3uRgugm  to find out more. BE SURE TO HURRY! Spots have been filling FAST! We hope that future tours of the space will be available soon, but they are by appointment only in Artist Enclave Historic Kenwood: “where art lives.”

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Pandemic Parenting Interview with Batnadiv Hakarmi, by Rachael Grad

RG: How did motherhood change your art?

BH: To my surprise, when I became a mother, my work became so much more collaborative. Before I had children, I worked alone in the studio on personal projects. I used the space whenever I wanted, including late at night.The idea of sharing did not work with my entire approach to art-making. The changes began during my first pregnancy, when I had to change mediums because I developed an allergy to turpentine. After my first child was born, I worked at home painting small works in watercolor on a desk. Later, I started working with other moms.

All my support came from other mothers. I was lucky enough to be part of the group “A Studio of Her Own” which included a lot of other young moms with kids. A few of us got together to rent collaborative studio space that was child-friendly, and people used it at different times.  We did a series of site-specific projects together, working on big murals and projects in historic buildings and public spaces.  I love working big and not having to clean up a studio space. My friend Julia Aronson and I did a series of collaborative murals. We discussed the idea, then alternated painting days  with each other, in a kind of visual game of Exquisite Corpse. We had to let go of control and let someone else in. We kept a blog about our last project [Link below].

At home my kids get into my art materials, so I got them their own sketchbooks and supplies. They still always want mine though. 

RG: Were the changes in motherhood a surprise?

BH: I knew something was going to change but didn’t know how. I foresaw needing to work smaller. The opening of working collaboratively with other mothers was a good surprise.

RG: How do you fit in studio time with kids?

BH: My three children are now in kindergarten, pre-school, and daycare, respectively. Until each baby was a year old, I hired a babysitter once a week so I could have painting time, and I attended a late-night sculpture group. During the pandemic, for a year I didn’t have childcare so couldn’t do any art, except what I called my ‘stolen sketch time’. Before then, I found ways to paint or draw daily.

RG: Was there a big shift going from one child to 2?

BH: Yes. Two is more complicated because there’s a toddler to run after. I am always outnumbered. But for me the biggest shift was going from 0 to one child. The actual transition into motherhood has been transformative.

RG: What books, groups, web resources do you recommend?

BH: I find that working with other mothers is the most helpful way to navigate creativity amidst the chaos of motherhood. I am part of a wonderful poetry group called Mama Poets Write who used to meet once every two weeks for a night of writing. For art practice, I have artist friends who I would meet regularly. I worked with Julia Aronson on the mural projects and I participate in a regular sculpture group of women of different ages. I found my tribe and painting friends after having kids.

RG: Is there anything you would change or do differently?

BH: I was teaching before the pandemic in 3 different places. During the pandemic, it was a real struggle to teach on zoom with kids at home. I didn’t go back to teaching until after lockdown was over because it was too difficult to get childcare. I used to teach art at Brandeis University in the summer and I really miss it. I found there isn’t that much flexibility in teaching so between lockdowns and quarantines, I transitioned to giving workshops and doing freelance editing. The work does take away from my art practice – it’s a constant juggle to make time and space.  

RG: What’s your biggest struggle?

BH: A big struggle- quoting Virginia Woolf and her ‘Room of One’s Own’ – is a prescient issue. The lack of space for a mother-artist is huge. I need a space for myself to maintain my art practice. Yet, now even my bedroom is not my own. When you are pregnant, even your own body is not your own. I was never alone during the pandemic and I would like to find another collaborative space. Our original space was located in Beit Alliance, a subsidized cultural center. We had an amazing synergy and did some exceptional projects. But, as mothers of young children, we were not typical artists. We look or behave like people assume artists do. We didn’t attend late night events. We set up alternate events which were well attended, but our landlords did not renew our lease. I do think there is some discrimination against mother-artists and caretakers. I’m currently working in Ha Mifal where my sculpture group has a residency and exhibition. I am sure new things will arise as the future unfolds.

Blog Project with Julia and Batnadiv is here.

Full exhibit with Batnadiv at MoM is here [LINK]

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Art Featured Featured Artists Residency

Pandemic Parenting Exhibit with Rachael Grad and Natalie Majaba Waldburger

“My artwork grows itself like children. I set the path, feed them as needed, and create the right environment, then you’re good to go.  Monitor and tweak as needed. You just enjoy what happens after that. There are many unknowns after that but that is part of the joy of trusting and letting go.” ~ Natalie Majaba Waldburger

Natalie Waldburger Pandemic Parenting Exhibit

Bio: Natalie Majaba Waldburger’s current art practice is open-disciplinary and seeks to understand the complexities of respectful collaboration and participatory work in the context of anti-colonial research.  In recent years, institutional critique has become the focus for collaborative art practices as a co-founding member of The Drawing Board.  As an Associate Professor at OCAD U, Natalie has served as Chair for a number of programs in the faculty of Art including the inaugural Ada Slaight Chair of Contemporary Painting and Print Media and, most recently, Interim Chair of Sculpture/Installation and Life Studies and Grievance Chair for OCADFA.  The Life Studies area was the focus of Natalie’s appointment at OCAD U.  Life Studies is a specialization positioned in the Faculty of Art that brings together the arts, sciences, and humanities to cultivate interdisciplinary studio art practices.  These pedagogical approaches speak to Natalie’s own art research practice positioned at the intersection of sustainability, social justice, and ecologically-respectful art practices. [See full exhibit LINK]

Interview with Rachael Grad:

RG: How has your art changed during the pandemic?

NW: My work changed in the last year. I don’t make my own work when teaching, except for the collaborative work with The Drawing Board in which we talk about kids, work, and everything that’s happening in our lives. We are all mothers, teachers, administrators and artists and The Drawing Board became a way to support each other beyond the studio and outside of the institution.  It is an entity and a collective that is porous by necessity and a way to support each other as whole people with intersecting pressures that come with the different roles we have. The Drawing Board is where we can be silly, make commentary and give ourselves permission to try things that might fail. I am currently returning from a sabbatical from teaching at OCAD University. This opportunity allowed me to get out of the school/work grind, go offline, get back to materiality in art.

RG: What was your most recent collaborative project?

NW: The Drawing Board had a collective exhibition at the Red Head Gallery in Toronto during the height of the Omicron wave of the pandemic. We bubbled together and created work in the gallery. We invited 9 other artists to zoom in and participate. Six out of nine of the artists were moms. The guests gave us assignments and directions while we made art together in the gallery. We allow life to come in as commentary as well in our work –  the things that happen in our personal lives, our working lives and our individual artistic pursuits.

RG: What was your most recent individual project?

NW: I just finished a Bio-Art Residency at the School of Visual Arts in New York City. It was 6 weeks on my own, which was difficult for my family. I worked in a Level 1 Bio Lab.

RG: How did you get interested in biology and lab work?

NW: I started art and science work right out of OCAD seeking out anatomical studies in my figurative painting. Then I got interested in other scientific questions about what makes us human, like the human genome project. I later moved into installations then microscopic and cellular based works. I explore things that grow and ways in which materials grow themselves like having a child where you set the conditions, care and nurture the beings, and let them grow the way they want to. The surrounding environment impacts this particular work. My work has used wheatgrass, bioplastics, mycelium (the roots system of a mushroom). For my most recent project, I took molds of Victorian ceiling medallions that represent traditional Toronto architecture and also colonialism. I then filled them with mycelium while in the lab, allowing them to grow into these ornate forms.

RG: Why mycelium?

NW:  I wanted to continue with a material that, once started, would grow autonomously and introducing an element of the unknown to the process.  After doing some research I found that mycelium was used in research to predict the growth patterns of tumours. Because mycelium grows more quickly, in 2 to 3 weeks, it is a useful predictor of tumour behaviour. This resonated with me because my son has a brain tumor, diagnosed at 9 years old. The symptoms manifested initially as paralysis effecting his face, then arms and legs on the right side. He had to learn to walk again and undergo surgery, rehab and chemotherapy. It’s been challenging and yet amazing to see him grappling with this while still being a kid in school and eventually succeeding getting almost straight A’s in school. The disease has been unpredictable, and we never know what to expect. I’ve learned so much about Neurodiversity and navigating both the health and education systems.

RG: will you continue your research now that you’re back in Toronto?

NW: I’ll continue exploring but I don’t have the same lab access in Toronto. Life Studies will be able to build a mini-lab through a generous donation from the Joan and Clifford Hatch Foundation so that I can introduce some of these processes to Life Studies students. We can purchase an autoclave, which is a big giant sterilizing machine, alongside our current microscopes.  Next for our order is DNA sequencing equipment and growing equipment for plants. Interestingly, Life Studies was partnering with MaRS and Sick Kids and while on a tour of the SickKids research area I saw the lab housing my son’s tumor, two years after his surgery. Frequently, my research has mirrored and predicted what happens in my life.

RG: What’s next for you?

NW: In October my most recent residency work will be shown at Art Quarters on St. Clair Avenue West in Toronto. The works, alongside mosses and terrariums will likely be installed on walls, not hung from the ceiling as in New York.

RG: Anything else you’d like to share on motherhood and art?

NW: Being a mother is why I explored this way of making. At first, I used a paintbrush and encaustic – body-like materials that do their own thing. Having a child encouraged me to give up more control and make the unknown even more the driver of this work. I enjoy being open to results and thinking about how both science and art practices speak to each other. My materials are experimental, and I employ the same letting go and relinquishing of control that is necessary in the collaborative process and in parenting.

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Art Featured Featured Artists Residency

JJ Lee – Featured Artist Pandemic Parenting Online Exhibit

The Pandemic Parenting Exhibit is curated by Rachael Grad as part of her Remote Residency with MoM. Each week during the month of August, Rachael interviews and collects information about four outstanding mother artists and their practices. Then, her interviews will appear here and also link to the exhibit page online.

“My work as a professor is to challenge the status quo and show that there are different ways to be an artist.” ~ JJ Lee

RG: What is your current focus?

JL: I have an upcoming exhibition next June through August in a Halifax Museum. I went to Halifax, Nova Scotia, to clear out my parents’ house and found all kinds of things. I started drawing based on these discoveries and proposed a show to the Museum. I was going back and forth to Halifax while my mom was sick. My recent work is about losing my mom and ancestry. The drawings of my mom were emotional and healing.

RG: How does being a mother impact your work?

JL: My 15-year-old non-binary child Mei came to Halifax during one trip while I was taking care of my dad. Mei was a comfort to me. The death of my mom and Chinese funeral rituals were a learning experience. I brought my dad back to Toronto to live. I have 4 siblings and am the youngest. The past few years during the pandemic have been an incredible amount of caretaking a child and my parents: first my mom and then my dad. Caretaking takes up an incredible amount of time and energy.

RG: How did this parent caregiving come into your art?

JL: Caregiving changed my work, making and understanding. I started drawing on paper from my grandfather’s laundry that I found in my parents’ house. For a while I couldn’t do work on my mom so I did work about my grandfather. It’s difficult to capture my mom and her essence from photos. I started drawing on the found paper. Physical impressions of my mom’s writing in Chinese letters started coming through the paper. Intergenerational trauma is passed through DNA. I feel that that this show is not my show. For 30 years, the art was mine but not this new work. I am making drawings of my mom on laundry paper, my mom sewing in a shrine, and my grandmother and her friend. My recent work is about matriarchy and Chinese culture. My grandmother ran the house. There is a tradition in Chinese culture of the eldest son and his wife moving in and taking care of the son’s parents. I used to have a different impression of my grandmother then later learnt from family that she had had difficult life.

RG: How did your work change when you became a mother?

JL: My work changed when my baby was born but became more interesting when I started collaboratively working with Mei. My child taught me a lot including forcing me to face my own biases about art. Mei draws freely in her mark-making and stories.

RG: How do you balance creating, parenting, and teaching?

JL: My first exhibition with Mei was when Mei was 7 years old. My next exhibition didn’t include Mei and Mei wasn’t happy about it! At the time I was the Chair of First Year Painting and Drawing at OCAD University with a tenure track job. We realized later that Mei is hard of hearing and is autistic, so the show was about non-verbal communication. I was drawing on tags that represent labels about being autistic, Chinese, Canadian, and others. Then Mei ripped up my drawings into tiny pieces. I felt upset, violated, and destroyed but then Mei and I made a collaborative work out of putting the pieces together.

RG: Do you still collaborate with Mei now that she’s a teenager?

JL: Mei no longer wants to collaborate or get feedback on her art from me. Mei is part of the new digital generation.

RG: Are you collaborating in other ways?

JL: My work expanded through collaboration with dance-choreographer sister and The Drawing Board. In The Drawing Board collective with Natalie Waldburger and Amy Swartz, I lose individuality and have the freedom to make what I want. We can’t separate being moms and creatives. The Drawing Board formed because we didn’t have time to make our own work. The art practice responds to what’s happening through our lives. My work as a professor is to challenge the status quo and show that there are different ways to be an artist.

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Art Blog Books Featured Artists Literature Residency

Meet the Newest Artist Resident at MoM: Gloria Munoz

We are excited to announce our newest Guest Artist in Residence, Gloria Muñoz! During her residency, Gloria hopes to focus on developing her novel which is set in 1940s Colombia during the period known as La Violencia. With elements of fabulism, historical fiction, and eco-poetics, the story of two sisters who are displaced by violence and left to fend for themselves is a testament to how we can experience wonder, and even magic, after loss.

Continue reading to find out more about Gloria.

Gloria Muñoz is a Colombian-American writer, literary translator, and advocate for multilingual literacy and writing. She was awarded the Academy of American Poets 2019 Ambroggio Prize and the Gold Medal Florida Book Award. She has also been honored by the Highlights Foundation’s 2022 Diverse Verse Fellowship, the Macondo Workshop, Lumina’s Multilingual Nonfiction Writing Award, a Las Musas Mentorship for Latine and nonbinary authors, a New York State Summer Writers Institute Fellowship, a St. Petersburg Arts Alliance Muse Award, a Creative Pinellas Grant, the Estelle J. Zbar Poetry Prize, the Bettye Newman Poetry Award, a Gen Yes Doris Duke Foundation Artist Award, a Think Small to Think Big Artist Grant, and a St. Petersburg Arts Alliance’s Jim Rolston Professional Development Grant. Gloria was part of the inaugural Tin House YA workshop and has presented her writing, research, and advocacy work at conferences, colleges, public schools, and book festivals across the United States and Latin America. Her writing has appeared in Puerto del Sol, VIDA Review, Acentos Review, Lumina, the Rumpus, Yes Poetry, Juke Joint, Best New Poets, Sweet, Burrow Press, Cosmonauts Avenue, Entropy, Wildness, Cagibi, and elsewhere. Muñoz is also the author of the chapbook Your Biome Has Found You. She holds degrees from Sarah Lawrence College and the University of South Florida. A proponent of cross-disciplinary collaboration, Gloria has worked alongside botanists, musicians, dancers, historians, classicists, visual artists, conservationists, and neuroscientists. She is a co-founder of Pitch Her Productions and she is one-half of the songwriting team Moonlit Musíca. Most days she writes, teaches, and works with environmental nonprofits.


Also, Announcing This Week:

MoM is also pleased to announce, a conversation about the film, Adventures in Miscarriage with director Cheryl Furjanic, who presented her film trailer at the MoM Conference in 2022 – in person in St. Petersburg in March!

She received incredible feedback and has just launched a new version of the trailer and a summer fundraiser for the film. Here is the link. https://watch.showandtell.film/watch/adventures-in-miscarriage-summer-fundraiser

It will be up until July 31st. Then, on Wednesday, July 27th at 6:30pm ET, she will be hosting a conversation about the film and the current state of miscarriage care. Here’s the link for that: https://nyu.zoom.us/webinar/register/WN_1xNcM1coSLmlMZAJCKXDlA

We are excited to support and view this important film which offers a perspective into this generally underreported experience!

If you are interested in applying for a guest residency here at MoM, please go to our website HERE: https://bit.ly/3uRgugm  to find out more. BE SURE TO HURRY! Spots have been filling FAST! We hope that future tours of the space will be available soon, but they are by appointment only in Artist Enclave Historic Kenwood: “where art lives.”

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Art Blog Caregiving Featured Featured Artists motherhood Residency st petersburg

Remote Artist Residency with Rachael Grad: This August at MoM

Rachael Grad is a mom of three and former lawyer who has studied and worked in the US, France, Italy, Hong Kong, and Toronto. Grad left practicing law to study painting full-time at the New York Studio School and New York University (NYU) before transferring to OCAD University in Toronto, Ontario, Canada. Trained as an observational painter, Grad has focused on colourful painting that blurs the distinction between abstract, figurative, and representational styles.

Recently her art practice has expanded to incorporate digital painting and collage to further recreate her observational drawing and painting. Grad combines her experience as a mother, former lawyer, and traveler into her artwork, creating art that reflects parenting moments. Her current art series include “Motherhood Hit Me Like A Train” works on paper that use trains as paintbrushes and “Mommy Mayhem” digital collages and abstract expressionist paintings.

Grad’s artwork has been shown in solo and group shows in Washington, DC, New York City, Venice, Italy, and the Toronto area. She holds degrees from Brandeis University, Duke University School of Law, and Sciences Po in Paris, France. She earned a BFA with Distinction in Painting and Drawing from OCAD University in May 2022 as the Governor General Academic Medal and Mrs. W.O. Forsyth winner. This fall Grad will start a Master’s in Fine Arts program at York University in Toronto, Ontario, Canada.

Mayhem Bunny
Elephant and Doll

Artist Statement

Motherhood is mayhem. When I became a parent, carving out time and space to create (not just people but artwork) became essential.

My current art practice is driven by an obsessive-compulsive need to document my three kids and their perpetually changing debris (meaning their messes of toys, books, clothing, and crafts). Daily household and art routines, rituals, and schedules reflect my attempt to reign in the chaos of parenting. Numbers, habits, and repetition are crucial to my sanity and survival.

There are 52 weekends in each year when my children’s school, daycare, or summer camp are closed for 65 agonizing hours in a row. To symbolize the slow passing of parenting time, I created 52 digital collages each containing 65 artworks layered together in photoshop. The artwork layers include my postcard drawings, abstract colour paintings, and paint mark experiments with toys.

Recent Mommy Mayhem series paintings are loosely based on these collages and blur the distinction between representation and abstraction. Gestural paint marks use the bright colours found in toys and messes.

In my Motherhood Hit Me Like a Train series, rolling a toy train across my artwork as a not-so subtle metaphor for being a mother artist. Toys have overtaken my home and my artwork, and they are always in mind and in my way. For my abstract watercolour on paper artworks, I reverse the ubiquitous toy train and turn it into a paintbrush.

Repetitive marks starting from observation are a way of building up unclear layers to form abstraction. Loosely based on the digital collages, I paint colourful abstract portraits of stuffed animals and toys that serve as transitional comfort objects for children as they grow and learn independence from parents.

My painting subjects reflect moments of motherhood, and my painting technique is a reference to, and mocking of, art history movements such as the machismo of the Abstract Expressionist painters. I am conceiving a visual language informed by abstract expressionism, playful mark making, and the contradiction between my dream of control and order versus my reality of constant pandemonium and mess at home. Routines, patterns, and symbolic numbers are expression in my art.

I research contemporary parent artists and their artwork including Mary Kelly (Post-Partum Document. 1973-79), Monica Bock (Maternal Exposure (or, don’t forget the lunches), 1999-2000), and Paul Campbell (Koosh Series and Remote Control Series). When painting, I think of Denyse Thomasos’ powerful gestural marks, Susanna Heller’s experimental studio practice, and Amy Silliman’s abstraction.

Museum of Motherhood Artist Residency Project

During her MOM Residency, Rachael will curate an online art exhibition of artwork made by artist mothers who manage to create artwork and keep up their studio practice while parenting. The show will include weekly blog posts interviewing participating artists to explore their work and parent experiences. During the period of her artist residency at MOM, Rachael will attempt to create a drawing or painting each day related to her “Mommy Mayhem” or “Motherhood Hit Me Like a Train” series.

You can view more of Rachael’s artwork at RachaelGradArt.com

If you are interested in connecting with Rachael, you can find her on social media @RachaelGradArt

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Art Blog Featured Featured Artists Feminism MOM Art Annex motherhood Residency

MoM Welcomes Guest Artist Tara Blackwell

We are excited to announce our newest Guest Artist, Tara Blackwell. Tara is a mixed media pop artist leveraging the tension between fun and social commentary in her artwork.

Continue reading to find out more about Tara and her journey.

I am a mixed media pop artist living and working in Connecticut. In my work, I play with bold colors, layers, and texture, often incorporating nostalgic pop culture to explore contemporary social issues. At a glance, my paintings depict a childlike innocence, but there is usually underlying social commentary. While I have fun exploring imagery from my childhood, at the same time, I am delving into insecurities that go way back to being an awkward girl in middle school – that “picked last in gym class” feeling. My “Saturday Morning” series is all about resiliency and perseverance. Remember digging in the cereal box as a kid to find that prize? These little characters are symbolically shown in positions of independence, strength, and success. The process of creating this work has personally helped me to conjure up my own inner strength and to envision my “prize” within my reach.

In the Summer of 2020, like many of us, my daughter (Lila) and I spent a lot of time together indoors due to the pandemic. Lila was 12 and in her first year of middle school at a new school and navigating the typical challenges that I remember all too well from that age. But the isolation and fear of getting sick was an unexpected turn. Then—we saw the horrific murder of George Floyd; Another brutal killing (at the hands of the police) of a human being who looks like us. Black Lives Matter protests erupted stronger and louder than ever and living downtown in a major city, we could just step outside and be part of the movement. Together, Lila and I began to pour our feelings into our art.

I was still working on my Saturday Morning series when Lila suggested the use of Powerpuff Girls, a cartoon linked to her generation, not mine. I had been focusing on my own childhood memories in this work, but when I started exploring Lila’s suggested reference, my focus shifted to her experience at that moment. As a mother, I not only thought about how I could protect her but how could I help her to discover her own voice and inner strength. My Saturday Morning series shifted direction and I tapped into my fierceness as a mother– as a Black mother of a Black girl. The Powerpuff Girl painting became the piece titled “Justice Now.” I consider that piece to be the beginning of a powerful collaboration between me and Lila.

If you are interested in applying for a guest residency here at MoM, please go to our website HERE: https://bit.ly/3uRgugm  to find out more. BE SURE TO HURRY! Spots have been filling FAST! We hope that future tours of the space will be available soon, but they are by appointment only in Artist Enclave Historic Kenwood: “where art lives.”

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What Makes Us Stronger

Hello World. Read here: New podcast, MOM Conference, Acquisitions, and the Feminist Playhouse!

We continue to keep our focus high and our voices strong here at MOM. To that end, we had a beautiful weekend in St Petersburg filled with art and celebration as people from all walks of life and far-ranging geographies came to enjoy the MOM Art Annex gardens (featuring art by Luci Westphal from the AEHK neighborhood and in our online store), exhibits, as well as the Feminist Playhouse, where Martha Joy Rose lectured widely on womyn, equality, and mother Studies, while making lemon art.

Special shout out to our Remote Residency Participant Rebecca Louise Clarke (Monash University, Australia), who is completing her PhD as well as a book on maternal objects and museums for Routledge Press. Her recent feature on cardiCast episode 84 podcast was a marvelous and generous sharing of our work here at the Museum of Motherhood and her time studying with Martha Joy Rose. It is a marvelous listen and well worth tuning in (link is above and here).

This weekend, MOM hosts its Annual Art and Academic MOM Conference in person and on Zoom. Only registered participants may attend this two-day activity. Our topic this year features Creativity for a Cause with luminaries, activists, and professionals from around the world. You must be a member of our new Community Page to attend and be pre-approved due to Zoom limitations.

Finally, we have been slowly building our collections here at MOM. Our newest additions to the collection are Jo Spence, Remodeling Photo History: Revisualization 1981-82, black and white print (England). This photo serves as a study in deconstructing breastfeeding, asking us to interrogate deeply held assumptions (with a totally punk rock spin).

Also new to the collection is Sallie Hackett Brown’s sculpture Tender or Threat. Sally is an AEHK icon. The sculpture’s movement of the wood and metal is evocative of a figurative male/female dance, with all its complexities, though the sculpture itself is quite simple.

The Mother Tree is on loan from artist Helen Hiebert. Helen is a nationally recognized paper artist and a friend of MOM since the museum days in New York City. This seven- foot-high sculpture is intended to invoke the way in which nursing mothers nourish the world. The long silken tendrils cascading from her chest lead towards a collection of hand crocheted yarn collected around her feet which reach into the community connecting all our best intentions. (Also pictured in the background, ‘In Black and White’, photographs by Alexia Nye Jackson for Mother the Job).

Our online fundraiser is ongoing. Please consider joining us by adding your name to our Mother Tree Fundraiser. The link to our GO FUND ME is here!

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