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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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Art Featured Featured Artists health MOM Art Annex

MOM Welcomes Guest Artist Jessica Caldas

We are excited to announce our newest Guest Artist, Jessica Caldas. During her guest artist residency, Jessica will expand on her research and writing dedicated to exploring her matriarchal line.

Continue reading to find out more about Jessica and their journey.

What do you hope to accomplish during your residency?
Much of my time right now is devoted to others and work outside of my studio: I have a small child and family, a part-time telecommuting day job (although a very flexible and supportive one), and run a volunteer nonprofit arts organization in my community with robust programming. I love these things, and they are all important to my happiness and, ultimately, my practice as an artist, but so is my studio, and I am not always able to dedicate the time I would like to my studio. At my MoM residency, more than anything, I look forward to returning to a rhythm that is me and making centered because even a brief two weeks of this kind of time is invaluable to me (and I think most artists).
As far as the work goes, I have been slowly, very slowly, building up a body of research and work about Puerto Rico and American social and political history and how my family’s story fits into that history. In the past year, I have finally begun multidisciplinary experiments in tangent with this writing and research. I will continue those experiments and hope to create a few more formal works within the overall body. I am especially interested in visually exploring my family’s matriarchal line, as there is an abundance of incredible women characters in my family’s story.

How would you describe the connection or relevance of motherhood to your art or approach to creating?

In the context of this work specifically: I am myself a mother figuring out the best way to pass down my Puerto Rican heritage to my daughter. For me, it is a source of anxiety, pride, and complicated feelings that are not easy to describe. It’s also a joke. How can this sorta-Rican (me) teach anything to my quarter-Rican (my daughter). The matriarchal line of history that I have access to is more limited as the writings and research I am conducting are predicated on my Grandfather’s memoirs, so the work here is more abstract, more imagined. I think, like motherhood and child-rearing, this feels appropriate because nothing can prepare you for the reality of children – it is an act of faith, creativity, imagination, and world-building, no matter how well or poorly you do it.

What message would you send to other artists in this field?

When I first became a mother, I resisted the identity in a huge way. I was in graduate school, and I was convinced I could carry on in my life as I always had, with no differences, just with a child in tow. This is untrue, and it’s not that you can’t do this, and I watch with interest other artist mothers I know keep their art and family lives so separate and so distinct. But it’s not for me, and I don’t think it is for everyone, even if everyone is capable of it. For me, becoming a mother meant learning that I had to care for myself. This was a thing I had never done particularly well, but you quickly (hopefully) learn that there is very little you can do for your child if you are not well fed and slept, if your heart or soul is broken or hurting. That being said, I also learned that for me personally, I had to maintain my own identity as an individual as well as grow and develop my identity as a mother and how these two people were the same and different, how they could work together, and how that could create space for new things, new work, now joy, and new care. I’m not always good at it, and like any mother, I am often at war with myself over the ways I choose to balance my time. But I have learned slowness, care, and comfort in all the ways that I am as an artist and in my studio, things I did not necessarily allow myself before motherhood.

About Jessica Caldas

Jessica Caldas is a Puerto Rican American, Florida, and Georgia-based artist, advocate, and activist. Her work connects personal and community narratives to larger themes and social issues. Caldas has participated in numerous emerging artist residencies, including the Atlanta Printmakers Studio in 2011, MINT Gallery’s Leap Year Program from 2012-2013, The Creatives Project from 2018 to 2019, Vermont Studio Center in 2020, and was the Art on the Atlanta Beltline AIR in 2020-2021. Caldas was awarded The Center for Civic Innovations 2016 Creative Impact award, named Creative Loafing’s Best of ATL Artist for 2016 and 2015, received the City of Atlanta Office of Cultural Affairs Emerging Artist Award in Visual Arts for 2014, and was a finalist for the Forward Arts Foundation’s Emerging Artist Award in 2014. Her work has been featured at Burnaway, ArtsAtl, Creative Loafing Atlanta, Atlanta Magazine, Simply Buckhead, and more. Her work has been shown at the High Museum of Art in Atlanta, GA, and is included in the collections of Kilpatrick Townsend, The City of Atlanta Office of Cultural Affairs, and the Kyoto International Community House. Her work is currently on view at the Art & History Museum of Maitland in her first museum solo exhibition, CORPUS DELICTI.

In her advocacy work, Caldas has spent time lobbying for policy at the local level in Georgia and spent time with the YWCA Georgia Women’s Policy Institute at the 2016 general assembly to assure the passage of the Rape Kit Bill and in 2016 to stop HB 51 in 2017, a bill that would have harmed the safety of sexual assault survivors on college campuses.

Caldas received her Master of Fine Arts degree at Georgia State University in 2019 and received her BFA in printmaking from the University of Georgia in 2012. She currently runs Good News Arts, a small community arts space and gallery in rural North Central Florida.

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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MOM Welcomes Guest Artist Andrea M. Williams

Artist Andrea M. Williams

We are excited to announce our newest Guest Artist, Andrea M. Williams. A visual artist and mother of two, Andrea knows all too well the toll that motherhood can take on one’s own body, mind, and spirit and she has turned to her art as a way to heal and find peace. Andrea’s fascination with the body has led her down innovative pathways considering new ways to represent the body and its various functions.

During her guest artist residency, Andrea will continue to develop her artwork focusing on her explorations of motherhood. Continue reading to learn more about Andrea’s life and her artistic journey and about our interview with her:

Parenting is hard work. 

Becoming a parent is a profound physical, mental and emotional experience. Before I became a mom, I studied figurative art at academies in Chicago, Florence, and New York. I love the figure but more than that, I am interested in depicting the human body itself. In graduate school I discovered printmaking, which quickly became my passion. 

After graduate school, I underwent treatment for some stress-induced medical issues. I began considering the organs and systems underneath the body’s exterior. I had lost regular access to a printmaking workshop, and began carving and hand-printing relief prints at home using linoleum blocks. My work became smaller in scale. I started experimenting with chromatic inks. I drew images of organs layered with abstract linear elements. I left behind the fussiness of registering plates and printed several linoleum blocks together. I cut up prints and glued them back together in layers, adding graphite and watercolor. 

This process of assemblage has become a kind of meditation. Instead of starting with a carefully prepared drawing, I head in a direction, unsure of where I will end up. For my guideposts, I use photos of forests taken in upstate New York. Frozen cattails clustered overgrown next to a bank parking lot. Gnarled tree bark. Videos of new spring leaves softly shifting in the breeze. I think about living plants and living bodies and the connection between them. I consider what a body can do, how a body can give life, how a body can deteriorate. 

Each of my daughters was born in traumatic circumstances. My first was born 6 weeks premature and my second was born in mid-2020 during the height of the first Covid wave. Each time after giving birth, I experienced postpartum depression. My body had done incredible feats, but it now felt foreign. Over time I realized I needed to regain a balance between caring for my daughters and caring for my mental health. My art practice has become an outlet to cope with, at times, crippling anxiety. It is a meditation on what it means to be an artist, a parent, a woman.

-Andrea M. Williams 

About Andrea M. Williams

Andrea Williams is a visual artist whose mixed media works explore motherhood, birth, and the female body. During her time at the M.O.M. residency, she plans to create a suite of works on paper that join elements of relief printmaking, collage, drawing, and painting. 

Andrea received her MFA in Painting with a Printmaking concentration from the New York Academy of Art and her BFA from the American Academy of Art in Chicago. Her work has been shown in New York and Chicago. She lives and works in northwest Indiana with her patient husband and two rambunctious young daughters.

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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The Woes of PMS

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Severe PMS as a Mental Disorder

As a first year clinical psychology graduate student, I had mixed feelings when I learned that severe Premenstrual Syndrome (PMS) was officially recognized as a mental illness in The Diagnostic and Statistical Manual of Mental Disorder, Fifth Edition (DSM-5; a diagnostic tool used by therapists worldwide). Premenstrual Dysphoric Disorder (PMDD), “a condition characterized by intense emotional and physical symptoms that occur between ovulation and menstruation”, is categorized under depressive disorders. It is a supercharged version of PMS, in which affected women experience extreme mood shifts that could disrupt their work and damage their relationships in addition to the regular PMS symptoms such as bloating, breast tenderness, fatigue, and changes in sleep and eating habits. 75 percent of women are estimated to experience some form of PMS whereas 3 to 9 percent report symptoms of PMDD.

PMDD’s symptoms such as markedly depressed mood, decreased interest in usual activities, lack of energy, hypersomnia or insomnia, are similar to Major Depressive Disorder’s (MDD) yet they are cyclical, and occur between ovulation and menstruation. To qualify for diagnosis, one needs to show five of 11 potential symptoms in the week before the menses, and the symptoms should cause disruption with work, school, usual activities or relationships with others. As for the treatment, counseling, antidepressants, birth control pills, nutritional supplements, herbal remedies, diet and lifestyle changes are suggested. More detail on treatment approaches can be found here.

Currently, it is believed that normal hormonal fluctuations interact with serotonin systems, which in turn triggers pain, anxiety and depressive symptoms. Also PMDD has been associated with history of sexual abuse, domestic violence and perceived sexual discrimination as well as past unipolar depression, anxiety and other psychiatric disorders. On the other hand, Caplan, a research associate at Harvard University, claims that societal and interpersonal factors are usually the main cause rather than biological ones. She described PMS symptoms as the “last straw” for women in difficult life situations such as domestic abuse or job loss.

Although, PMDD has been included in the DSM for a long time now, many health professionals debate its existence and usefulness. The proponents argue that validation of the discomfort will encourage additional research and development of new therapies, and recognize women have special needs in mental health. Moreover, they argue that acknowledgment will increase the likelihood of insurance coverage and even alleviate the stigma attached.

On the other hand, a comprehensive literature research on the issue summarized the following as the reasons for opposing inclusion of PMDD as a mental disorder. The arguments are as the follows:

Concern 1: the PMDD label will harm women economically, politically, legally, and domestically

Concern 2: Putting a label on hormonal changes only in women is harmful

Concern 3: Research validating PMDD has been faulty

Concern 4: PMDD is a culture-bound condition

Concern 5: PMDD is due to situational, rather than biological, factors

Concern 6: PMDD was fabricated by pharmaceutical companies for financial gain.

Although the current evidence validates PMDD’s existence, personally, I was ambivalent about recognizing it as a mental disorder since the diagnosis can pathologize the menstrual cycle and stigmatize affected women by labeling them as ‘mentally ill’. Also, such labeling can prevent the individuals from discovering other factors in their lives that may be causing distress. I hope recognizing PMDD will not prevent the mental health professional from exploring potential causes other than the hormonal changes.

Yet as Chrisler states, whether PMDD is a mental disorder or not, it’s important to validate women’s experiences since “Whatever they’re experiencing, they’re experiencing”.