Sunday, February 9, 2020


The Woman Project is a group of RI artists and activists formed in 2016 by members of Hera Gallery and community members to use art as a catalyst for Women's Reproductive Freedom. The Woman Project is exhibiting parts of their Petition Quilt, which was used to help codify abortion rights into RI law in our 5th anniversary exhibition The Fifth Decade. On February 21st as part of the talk for the exhibition, "Hera, Artist Cooperatives and Social Justice",  The Womxn Project will  present their Quilt to the Pembroke Center Archives at Brown University.

Tell us your artist story, some biographical info, when did you decide to be an artist? Why do you make art? Where did you study? Etc.

The Womxn Project (TWP) is a statewide organization dedicated to building a strong movement that harnesses the power of art, activism, and advocacy. We believe that together we can dismantle systems of oppression and uplift the voices of people in our communities throughout Rhode Island in order to shift power and shape the policies that impact our lives and the lives of our neighbors. 

TWP wields the power of art as an instrument of change. TWP believes that art can make public important information, push forward critical conversations, progress political work, and inspire ground-swelling social action. 

The TWP story is one of organic growth, sprouting from hope and determination and powered by art and community-strengthened commitment. TWP’s initial mission (to codify the rulings of Roe V Wade into Rhode Island state law) was inspired by the Hera Gallery’s community meetings in 2016-2017 through the Creating Together series. The Hera Gallery has served as both a community hub and inspirational network for the organization. 

What do you want people to walk away with after experiencing your work?

The Petition Quilt is the product of thousands of voices of Rhode Island residents and hundreds of labor hours from volunteers state-wide. It is a symbol of the massive support for safe and legal reproductive healthcare in RI. We hope viewers, like us, take the time to appreciate not only the individualized squares that showcase the real voices and lives of passionate Rhode Islanders but also marvel with gratitude at the craftspersonship and love that binds the quilt together into its epic size. 

We also hope that the quilt inspires folks to introspectively wonder which of their own personal talents, skills, or gifts that they hold within themselves could be creatively used as a tool to make the world a better place. We all hold a unique and valuable power potential inside each of us; what actions, resources, and perspectives might you personally be able to volunteer to the work and missions that exist around you and overlap with your passion? What power might we invent if we all dared to become inspired together?

What influences your work? Why?

Art is a powerful way to communicate human experience, thoughts, and ideas. Throughout history artists have created work to address political, cultural, and social issues relevant to their time and place. Within The Womxn Project Educational Fund, we engage ARTivism as a method to look for new ways to disrupt the political system, change the conversations, and move beyond traditional paradigms of activism.

What does it mean to you to participate in Hera, either as an artist member OR as an exhibiting artist?

Central to The Hera Gallery are three principles:  Rhode Island spirit, generational love, and artistic power. TWP is moved by all of these core ideas and is energized to be a part of this show at this moment in RI history.

Thursday, February 6, 2020


 Tell us your artist story, some biographical info, when did you decide to be an artist? Why do you make art? Where did you study? Etc.

In my kindergarten “All About Me” book I wrote “When I grow up… I want to be an art teacher.” 20 years later, I am doing just that! I earned my BS in Art Education with a concentration in painting and photography at Rhode Island College. I am now completing my MFA in Interdisciplinary Arts at MassArt in Boston. I make art to express my thoughts and ideas, share stories, and to teach… and to make my house prettier. 

What do you want people to walk away with after experiencing your work?

I create work that reclaims and empowers the bodies, skin, crafts, and stories of women. I aim to provide the viewers with an empathetic glimpse into these lives and stories that are often looked over or looked down upon.  I want my work to confront viewers with their own biases towards these topics and bring the viewer to honor women in the light they deserve.

What influences your work? Why?

I direct my work within the 4th wave of feminism to intersectionally empower all women, all of their lives, and all of their stories. I derive all of my drawn images of the female figure from the internet and mass media advertising. I often refer to Jean Kilbourne, especially her speech “The Dangerous Ways Ads See Women,” to confront these dangerous depictions of women ingrained in our subconscious memory from television commercials and magazine covers and to reclaim the image and role of the female figure. Most recently, I find myself prominently inspired by fine- artists’ Sophia Narrett, Erika Spitzer Rasmussen and Ghada Amer as well as musical artists The Highwomen and Lizzo.

What does it mean to you to participate in Hera, either as an artist member OR as an exhibiting artist?

Participating in Hera means to be a part of feminist art history. Hera was built on a ground of passion and resistance to not only change the art world but change the culture of the world through the power of women’s voices. It is an honor and a pleasure to continue to carry Hera’s ideals into the next decade and be included in this community of artists. 

To see more on Sonja's work visit her website:

Wednesday, February 5, 2020


 Tell us your artist story, some biographical info, when did you decide to be an artist? Why do you make art? Where did you study? Etc.
 I was always an artist it was a natural gift that was I was encouraged to pursue from a very young age. I decided to take art seriously after completing CCRI and committing to a Fine Art curriculum at URI. Printmaking, drawing and digital art were my concentrations. I make art because it is fulfilling a destiny and it’s a way to express what I read and the awareness of it in engaging art form. 

What do you want people to walk away with after experiencing your work?
I want them to have a profound experience absorbing the layers in the work literally and figuratively and to appreciate attention to detail, the mix of planning, research on topics and rare images for influence and spontaneity, the use of color and the mixing of ancient influences and knowledge with contemporary aesthetics. I want people to feel excited about coming out the next exhibition and bringing new people into the fold.

What influences your work? Why?
 I read books and source a lot of obscure information from the Internet. My work is influenced by studying the unknown, supernatural, ancient knowledge, especially esoteric symbolism and symbols pertaining to old world languages, mythology, religions, lost civilizations, mystical places, archaeological digs that turn up rare artifacts and humanoids that are different from us. As a kid mythology, Sasquatch sightings, aliens, beasts, dinosaurs always fascinated me, and that led to the study of our metaphysical origins and beyond. I try and capture elements of all this in my art in cohesive series that evolve in stages.

What does it mean to you to participate in Hera, either as an artist member OR as an exhibiting artist?
Hera showcased my first solo exhibition in 2014 and allowed me to always belong to something to keep me rooted in the art field despite life’s constant distractions. 
I am forever grateful for Barbara Pagh reaching out to me with the opportunity. 
It’s a warm and friendly community with a rich heritage I enjoy being a part of and the freedom to show whatever you want to express in artistic form is priceless.

To see more of Jason's work visit his website:

Monday, February 3, 2020


Tell us your artist story, some biographical info, when did you decide to be an artist? Why do you make art? Where did you study? Etc.

I am not sure I decided to be an artist. The decision crept up on me when I was an undergrad, taking design, photography and sculpture classes. I thought those classes were gut courses, a respite from all the reading required of a history major. Little did I know…. Soon I was spending all my spare time in the bronze-casting studio on the heels of taking a year of design classes. By the time I graduated, I was hooked and itching to make things- not to delve farther into modern European history.  Nonetheless my undergraduate education taught me how to ask a question, and how to look for the answer. That has been essential in my studio practice.

The pleasure of Making is the most exciting thing I can think of doing, in this or any other lifetime. Whenever I daydream about other professions, like marine biology or something similar, I can’t imagine being away from my studio or the process of making things. I love having space, both physically and emotionally, to fiddle around with ideas. For me the process is as important as the finished object. 

My education is a bit off the beaten track. I was a history major at Mt. Holyoke College in western Massachusetts, followed by two years at as an undergrad at California College of Arts and Crafts (CCAC) in Oakland, California. Then I came to RISD for an MFA in photography. I thought I would be a sculptor when I went to CCAC but the sculpture department was full of casting all-stars, all male and not friendly to women. It was a closed shop, which was not the case in the photography department.

The first day of photography class at CCAC, the assembled crowd exceeded the allowable size of the class. To pare the class down, the instructor went around the room, asking each of us why we were there. I said, “Because I have to be.” She let me stay. On our first photo field trip, I got a cactus stuck in my forehead, had to have a tetanus shot, and refused to tell my doctor why I appeared in his office with mercurochrome covering my forehead. Adding insult to injury, one of my classmates thought it was a good idea to photograph me rather than to remove the cactus spines. 

I started out using a 35 mm camera, but moved on to a 4x5 Crown Graphic and eventually moved to a medium format twin lens Rollei with which I made the images that got me into grad school. I applied to RISD because Aaron Siskind was teaching there, spent two years there learning how not to critique images – there was nothing kind or particularly useful that came out of the crits in grad school. I had to learn how to do a responsible crit for the benefit of my students after I graduated. I didn’t fall in love with photography until well after graduate school.

What do you want people to walk away with after experiencing your work?

I am making the seascapes in the series Room 10 because I am interested in how light alters space over water. I follow my nose as I go. These images are hard to make, harder to edit. I am doing them because. I am told they are calming and serene. Once I have completed the process of making them, I can see that. But I am not making them with that intention.  I don’t make them with the viewer in mind. I am making the Because.

The climate change work I am doing in my two series On the Edge  and Living on the Edge is intended as a chronicle, a way to document what we are doing along the shore. I want to call attention to land use in those places-because so much of it is  absurd,  and destructive, and the beat goes on, as we continue to approve and build structures in flood zones. If I bare witness to this absurdity, and pass along my distaste and distain for the disrespect accorded to that luminal space, I will sleep well at night.

What influences your work? Why?

Music and calligraphy and daily living are what influence me. Music and calligraphy have taught me a lot about graphics, shape and color. I have spent a lot of time living inside of music I love. I can’t explain how I do this, I can only say I enter the music. 

I studied piano as an undergrad, seriously studied it. I was not a good pianist, but I learned a lot about phrasing, shaping and coloring sound and that has been determinant in my work. That knowledge, for me, translates well into a two-dimensional image. Music also teaches me, repeatedly, how to start and how to end a sequence of images that I want to show. 

Studying calligraphy enriched what I learned from music. Good calligraphy demands that graphic and spatial placement work simultaneously – it is very satisfying and a great and demanding task master.  Whenever I go to a concert, I know I am in the right place when my thoughts merge into calligraphy as I listen. 

What does it mean to you to participate in Hera, either as an artist member OR as an exhibiting artist?

I am a member of Hera because the gallery is a community. I also admire the courage to take on shows that would be unlikely in other places. Our shows are varied and challenging. Making work can be isolating, but Hera offers an opportunity to trade ideas and expose one’s self to what other artists are doing. I also like being involved in the nuts and bolts of how work is displayed.

To view Kathie's work visit her website:

Tuesday, January 28, 2020



Tell us your artist story, some biographical info, when did you decide to be an artist? Why do you make art? Where did you study? Etc.
I've always been drawn to the human figure, especially women, and their environments, either real or imagined. I enjoy a sensual surrealism in my work and utilize meaningful objects to create a visual poetry. 

What do you want people to walk away with after experiencing your work?
Literature on natural phenomenon, as well as the literary works of Goethe and Rilke are always inspiring, intertwining with the symbolism of the sea, branches, the sky, birds, and most especially sirens.

What influences your work? Why?
My background includes a deep love of the ocean, an education from RISD, the ownership of a bronze foundry, and interacting with many students who will always be in my heart. I'm originally from Seattle but have adopted Rhode Island as my home, having discovered this state's unique magic. 

What does it mean to you to participate in Hera, either as an artist member OR as an exhibiting artist?
Being a part of Hera is an honor and a source of strength. Hera, without question, supports her artists, their vision, and the path each individual chooses to take without
expecting anything in return. 

Sunday, January 19, 2020

Meet Bianca, owner and designer of Clothes Horse Clothing who will be sharing some of her designs at our Fourth Annual Art to Table Benefit on January 24, 2020 at the Narragansett Towers.

Tell us a little about you…. 
I’ve been designing since I was a child. Growing up, my mom provided me with all
types of materials to keep me busy. She was an artist, and naturally I gravitated
towards imaginative uses of my free time. I started by making myself hair accessories
from recyclables and hot glue- things that I had lying around. In college, I began to
transform these materials into larger, more sculptural pieces that would eventually be
used in runway shows and editorial shoots. Teaching myself how to sew became the
next challenge- watching youtube videos and ruining yard after yard of found fabrics. I
earned a BFA in ceramics and art education while teaching myself the craft, and later
supplemented my self-taught knowledge with the Master Seamstress program at URI. I
took an interest in creating my own textiles early on, and completed a Masters in
Education with a concentration in graphic design which has informed my current textile
design work. I am currently teaching art full time at an area high school, and produce
my work in small batches for sale on my website and etsy shop.

How/When did you become interested in sustainable fashion?
Early on, it was certainly a convenience choice. I had lots of found materials, and I recognized at an early age the abundance of materials that already existed in my small sphere. I loved the quality of found materials - the wow factor that a piece could garner
with layers of unrecognizable materials. As I grew up and became more of an activist, I quickly recognized the role that I played as an individual, a consumer and a maker. I became vegan, recognizing the undeniable links between animal agriculture and the effects of animal products on our health, wellness and planet. I’ve consciously omitted
all animal products from my collections and moved towards fabrics that are ethically sourced or produced. I have a tendency to work with deadstock fabrics, and have recently begun printing my own textiles in small batches with the help of a US based printing service. Being in control of production with little to no fabric waste has become
a pillar of my process. Due to the nature of my deadstock materials, most of my work is one of a kind- I’ve really turned away from traditional fashion production models to avoid wasteful over production and over purchasing of materials. My concentration has
shifted to entirely one of a kind jackets and custom printed hair accessories. Most of my work is now ‘one size fits most’ which creates less waste and provides access to a
larger spectrum of potential buyers. 

 What was the first sustainable piece of fashion that you made?
I was absolutely OBSESSED with headdresses. I created this wild multi-horn
headdress using paper cups and wall paper. We used it in one of the first concept photoshoots that I had ever participated in. Finding it years later, I felt good knowing that it could be recycled haha

Why is sustainable fashion important to you and the planet?
Everybody likes to point fingers. It’s this persons fault, it’s that persons fault. At the end of the day, we each have a choice to make. It’s the collective actions of individuals thatcreate change. It depends on us to create the change that we wish to see in the world. We are at a crucial point in human history - too many people with a demand for too
many things. A lust for material need that has created a throw away market of poorly made products that pollute the earth. Knowing where your clothing comes from, how it’s made, how to properly care for it and what to do with it when you’re done with it is
one of several very large moving puzzle pieces that need be addressed to correct the damage done to our planet, our communities and our craftspeople. Giving new life to existing materials is one step in changing the way we view our products. Purchasing
less volume, and instead opting to invest in higher quality pieces by the hardworking people in our communities is essential. I think it’s important for people to know what our hands are capable of- how much ‘stuff’ we already have, and what we can do to reinvent with what we have already created.

What pieces will you be showing at the Hera Art to Table Benefit?
I will be showing a combination of garments, hair accessories and jackets created from a combination of deadstock fabrics, custom printed textiles and found notions. All of the pieces are one of a kind. The hair accessories are produced in small batches and

available on a rotating schedule.

You can see more of Bianca's work and purchase it at her website:

You can purchase tickets for the event at our website:

Saturday, January 18, 2020

Meet Rene Reyes, sustainable fashion designer showing their skirt collection paired with their jacket collection at Hera Gallery's fourth annual Art to Table Benefit at the Narraganset Towers on January 24, 2020.

 Tell us a little about you…. 
 I grew up spending a lot of my free time hanging out in my mother’s sewing studio. I’m gladly  carrying on my mothers family trade in working with garments.
The Arts are my life blood and sustainable fashion is the heart.

How/When did you become interested in sustainable fashion? 
I became interested in sustainable fashion after high school when I started modifying my jackets using other garments to alter the cut or texture.
Using thrifted garments as raw material made sense, I progressively got pulled into the rabbit hole of fashion industry history and the benefits of using discarded fabrics.

What was the first sustainable piece of fashion that you made? 
My first sustainable fashion creation started with a denim jacket back in my junior year of high school (2005) It was falling apart so I altered, repaired & decorated it. Through out the years I’ve kept it alive to this day.

Why is sustainable fashion important to you and the planet? 
The effects of the fast fashion industry are much larger than we seem to notice.

As soon as I learned of the scale of these effects especially to our ocean life I couldn’t help but to focus my passion with an aim to leave some kind of impression on humanity and do my part in what I see as my creative life’s purpose.

What pieces will you be showing at the Hera Art to Table Benefit? 
I’ll be debuting my skirt collection, paired with my jacket collection.
Each skirt is made up of at least 3 garments and or “irregular” fabrics.

You can purchase some of Rene's designs here:

For more information about Hera Gallery's Fourth Annual Art to Table Benefit and to purchase tickets to the event visit our website:

Friday, January 17, 2020


Meet fashion designer Brianna Moon. Brianna will be sharing her one of kind sustainable looks from her Fall/Winter Collection at The Fourth annual Art to Table Benefit for Hera Gallery January 24 at the Narragansett Towers.

     Tell us a little about you…. 

If you were to ask my family when I started making clothes, they all would say the same thing. At the age of 3, I began cutting up and tying bandanas together to make new clothes for my dolls. As an only child, I would accompany my grandmother to the dry cleaners that she previously owned with my grandfather when he was alive, then continued to work at until she was 95. My grandmother and her sisters played an integral role in my love of clothing. Perhaps it was how even at an elderly age these strong Italian women never stopped dressing for themselves. They would sit at my aunts kitchen table drinking coffee and eating cake in heels and pearls. My grandmother was the sportiest one out of them all. She was the first lady in Silverlake to wear pants. Back in her day she was a trendsetter, groundbreaker and by far the most influential part of my life because of her strength and courage.

 My most prevalent memories from my youth are the times I sat watching my grandmother hand sew and press all the garments at the cleaners. From a young age color, silhouette, patterns and family pictures captivated me in many ways. I truly believe that my deep love for styling, thrifting vintage, and reusing was directly related to the economical bracket my family fell into. Every female worked hard for what they had, they did not have much but they took care of every piece, wore secondhand and accessorized. 

As I got older, pushing my nose in the newest issue of Harpers Bazaar or Vogue allowed me to escape from normal teenage years and anxieties. There is a quote that by Andy Warhol that stands out to me and explains me as a young adult, “I never read, I just look at the pictures.” For me, I had severe anxiety and ADHD so I could never sit down long enough to read but the images and styling is what always stuck in my head. I always knew that textiles would play a huge part within my life because feeling the hand of fabric would get my mind racing. When I graduated from high school I attended URI and received two degrees, a Bachlor of Science in Textiles, Merchandise and Design with a focus in Apparel Design and a Bachlor of Arts in Art Studio with a focus in Figure Drawing and Portraiture. During my time in university I worked as a make up artist. This helped me mesh my love of drawing and fashion together. I spent one summer interning at Harpers Bazaar in NYC and the following summer studying Fashion in Lyon, France. When I returned I dedicated my time to designing and constructing custom one of a kind pieces under my own name for Style Week. The rush I got from creating these works of art was unlike any other but I was young and wanted to experience life more so I took the next step and moved to NYC. 

During my time in NYC I wore many hats but most of my time was spent working as an assistant putting together runway shows and installations for some of the biggest names in fashion. I had a wonderful time while it lasted but realized that I missed the one thing that had inspired me from the start and that was my family, so I moved back home where I fell into the jewelry industry. I worked my way within the industry to make a name for myself with the hopes and dreams of one day running my own place. I started from the bottom again, I learned, I thrived, I worked endless hours all while selling vintage in my spare time… and that is when Brianna Moon began. My tiny store in Hope Artiste Village is a mix of curated eclectic vintage apparel and accessories, upcycled designs and handmade jewelry by me.

How/When did you become interested in sustainable fashion?

Like I previously answered, growing up, my
 time outside of school was spent at the cleaners my grandmother worked at. I remember watching her mend countless items of clothing and when I was old enough she taught me how to sew by hand. Any tricks I know now I learned from her. I remember looking through the conveyer belt of dry 
cleaned clothing and becoming mesmerized 
by the endless supply of textiles. From a 
young age, everything I made was constructed from something else, usually the lost items from the cleansers. Although it started as a means of convenience, it eventually turned into something much bigger. 

What was the first sustainable piece of fashion that you made?

The first piece of clothing I showed on a runway was my sophomore year of high school. La Salle Academy held an annual fashion show where I showed an ecofriendly gown constructed from my grandmother’s vintage nightgowns and my old dance costumes. At 14 going through puberty, I was on edge and never wanted to be bothered, but I distinctly remember sitting in my kitchen hand sewing for hours hoping that anyone and everyone would ask me what I was doing. That’s when I knew I wanted to create for the rest of my life. 

Why is sustainable fashion important to you and the planet?

The rise of social media completely changed the consumption of fast fashion worldwide. No longer is it only celebrities who are selling us a lifestyle and trend it is every influencer on instagram, facebook, tumblr and pinterest.  Personally, it was challenging to not get wrapped up in feeling that I always need the next best thing, but it is something I work towards everyday. I truly feel the more time we all take to learn about the effects fast fashion has on our planet, the more conscious we will be with consumption. It is not one of our faults, we are all guilty but the most important thing is for all of us to do our part. As a society, we are so far removed from the production process, for example the toll the environment takes from dye baths. The older I get, the more I feel a need to educate myself on where everything I purchase comes from and how it is made. What this really means is rejecting fast fashion and investing in ethically sustainable produced items. 

 What pieces will you be showing at the Hera Art to Table Benefit?

The designs that I will be showing will be a Fall/Winter collection combining handmade accessories, daywear and eveningwear. Everything is made from deadstock fabric, vintage garments and vintage components. My SPRING/SUMMER designs always end up being brightly colored pops of art, while my FALL/WINTER designs tend to be more subdued, darker and more bohemian. This collection was exciting for me because I truly feel that I have come into myself creating these one of a kind pieces. I took a different stance and really thought of my comfort zone by working with different texture, patterns and colors. I am most excited for the headpieces I made for my models, the jacket I constructed with “Hera” and the one size fits most quilted floral coat that I constructed from a vintage blanket. 

To see more of Brianna's work :  AND
Follow her on Instagram: 

For Information on Art to Table or to purchase tickets for the event visit:

Wednesday, January 15, 2020


Tell us your artist story, some biographical info, when did you decide to be an artist? Why do you make art? Where did you study? Etc.
I didn’t have much art background before college though I always liked to make things. I didn’t seriously consider art until my sophomore year at Mount Holyoke College. I took a sculpture class with Leonard DeLonga and his teaching was an inspiration and made me see the world in a new way. I also studied printmaking with JoEllen Knight, became hooked on the process and subsequently pursued printmaking in graduate school at NYU. 

What do you want people to walk away with after experiencing your work?
Most of my prints are nature based, though they are abstracted. I want people to look at the natural world more closely after seeing my work. I also have worked to create larger scale installations of handmade paper based on megalithic structures. With these installations I want the viewer to have an experience of moving through the landscape and experience a sense of contemplation and reverence.

What influences your work? Why?
I’m influenced by personal experiences, travel and the natural world.  I like looking at work by other artists and am particularly drawn to works on paper and process oriented work.

Why are you a member of Hera?
I have been a member of Hera since 1985 when my temporary job at URI became tenure track. A Hera member at the time encouraged me to join. Hera has been an important part of my career since, where I have made friends, experimented with new work free of commercial restraints and helped with all aspects of running the gallery. 

Tuesday, January 14, 2020


"I have been drawing continuously, at times obsessively, for more than fifty years."

 Tell us your artist story, some biographical info, when did you decide to be an artist? Why do you make art? Where did you study? Etc.

 I have thought of myself as an artist since third grade when my classmates started asking me to draw things for them.  For a while, maybe it was only a week, I spent every recess drawing pages of airplanes, aircraft carriers, and battleships.  My friends would then play war by covering the drawings all over with arching lines that indicated a shot had been fired and scribbles that showed a hit.  I missed getting to fight the battles myself, especially making the sound effects, but I loved being recognized for drawing the best armaments.

I have been drawing continuously, at times obsessively, for more than fifty years.  My choice of materials comes and goes and comes back again: pencils, charcoal, conte, ink, crayons, china markers, pastels, chalk.  Over the years, I have drawn anything and everything (with the human figure as a constant): portraits, self portraits, apples on reflective surfaces, Chinese take out cartons, Wonder Woman’s glass airplane, rubber animals, nuns, swimming goggles, copies of Caravaggio, Velasquez, Homer, Hopper and Diego Rivera.  Through all the changes in materials and subject matter, what has always been true is that I love making marks and seeing them accumulate to reveal an image.  I also paint and make prints, but drawing has always been more important to me. 
 What do you want people to walk away with after experiencing your work?
 A smile on their face and an image stuck in their head. I want them to think, “Well… I never saw that presented quite that way before… “ I also wouldn’t mind if they thought, “Damn! That guy can draw!”

What influences your work? Why?
The content of my artwork is pretty much all memoir. Hopefully, it tells the story of what I have seen, experienced, thought about, had feelings about, found important, etc. Hopefully it tells the story in an engaging way.
In terms of technique, I’ll do just about anything that comes to mind to make it interesting to look at and think about. It is my guess that anybody who looks at very much of my work will get it that I have paid attention to art history across different time periods and cultural contexts. I’m sure not reinventing the wheel.
What does it mean to you to participate in Hera, either as an artist member OR as an exhibiting artist?
I can’t even remember how long I’ve been an artist member at Hera, but it has been a long time. Hera has presented me many, many opportunities to show my work, to develop and curate shows of other peoples work, to influence the community through the arts, and to have access to other artists for discussion and collaboration.