Adria Arch
Lilac Spin
Acrylic on polystyrene
Dimension: 60” x 24” x 24 inch
2023
Julie Gladstone
Invisibility Cloak
Faux velvet, eucalyptus wool, recycled t-shirt wool, gold tinsel found in the street, alpaca wool, cotton
Dimension: 48x70 inch
2021
Julie Gladstone
Lullaby in the Sumach
Archival Photo luster pigment print
Dimension: 20x30 inch
2022
Julie Gladstone
Invisibility Cloak with Sumach and Goldenrod
Archival Photo luster pigment print
Dimension: 20x30 inch
2022
Denise Treizman
Digital photography infused on coated metal (aluminum)
Dimension: 20x30 inch
2019
Adrift
Digital photography infused on coated metal (aluminum)
Dimension: 20x30 inch
2019
In celebration of Mother’s Day, OXH Gallery is pleased to announce RECEPTACLE, a group show by women artists from Boston, New York, Cleveland, Miami, Tampa, and Toronto coming together to dissect their own slice of motherhood/personhood through paintings, textiles, photography, performance, installation and new media in the landmark Kress Building.
In a room that exudes coziness with an over 50lb “Front Yard” blanket wrapped around the gallery floor, a sculptural installation hanging mobile-like from the ceiling to offer “joy, wonder, and solace” and luminescent weavings flickering on the wall, the audience is invited to think! Feel, too, albeit not blindly.
Adria Arch has been awarded residencies at Vermont Studio Center, Virginia Center for the Creative Arts, Sanskriti Foundation in Delhi, and in Auvillar, France. Her work is included in many private and public collections including the DeCordova Sculpture Park and Museum, Danforth Art Museum, Simmons University, Fidelity Corporation, the Boston Public Library and the Federal Reserve Bank of Boston.
In 2019 her work was featured at the Fitchburg Art Museum, curated by Lisa Crossman. In 2020, Arch presented Interference, an installation designed for the Cahoon Museum of American Art. Arch was commissioned by Chief Curator Mara Williams at the Brattleboro Art Museum in Vermont to create On Reflection. Recent exhibitions include Better Angels at Evanston Art Center and Sirens and Sentinels at Boston Sculptors Gallery. She was recently commissioned by Google for a site specific room installation.
Arch is a member of the Boston Sculptors Gallery.
I am a Boston based artist who creates large-scale, sculptural installations to evoke the complex beauty and emotional connections – joy, wonder, and solace - that humans find in abstracted natural forms. The poetic transcendence of the everyday is my ultimate goal.
Often suspended well above the viewer's head, these installations create a sense of the space between the earth and the sky, and of sunlight broken by clouds casting shadows across a landscape. Large organic shapes cut from light weight material, spiraling and bending dancer-like, create a dynamic experience. The sculptures, in ever-changing relationship, suggest the experience of time passing with shifts of light and color.
I work with gravity: when tied to specific points with wire, the lightweight plastic material takes on voluptuous forms in space. Each time a piece is hung, it conforms to a new space. The ephemeral nature of a mutable sculpture lends an immediacy and adaptability to the work, speaking to our transient lives and life.
Julie Gladstone is a Canadian Interdisciplinary artist well known for her abstract painting and installations, while also working in drawing, photography, sculpture, knitting, embroidery, textiles, music, performance and DIY video work. Her practice involves collecting contemporary artefacts, creating altars, amulets, spiritual couture and garments for rites of passage around motherhood, and inventing contemporary ceremonies for healing.
Gladstone holds an MFA the Interdisciplinary Studio program at OCAD University, and a BFA with a major in Painting and Drawing and a minor in Film Studies from Concordia University. Gladstone is the recipient of an Ontario Graduate Scholarship and the Dean's Scholarship and the Stevenson Colour Scholarship.
I came into knitting as a painter. My grandmother was a gifted knitter, descended from a long line of knitters and embroiderers in the Sephardic Diaspora. There was one particular knitted sky blue shawl with fringes that she had managed to imbue with magical healing properties. I have also been fascinated about this, and have always tried to create artwork that has the ability to heal and create alchemy. When I was a child, if I was feeling sick or sad, I would wrap myself up in the shawl and would be sure to feel better.
In "Invisibility Cloak" rather than following a knitting pattern, I approached the composition and design as I would an abstract painting. I stitched together knitted swatches into a larger piece that contains hidden pockets and geometrical designs. Inspired by the textile practices of my ancestors in the Ottoman Empire and their use of geometrical patterns as a form of maternal protection. By incorporating hidden pockets into my work I am creating containers for my daughter so that she too can draw support and knowledge from her matrilineal line, while also providing empty spaces in which she can gather or collect what is most important to her, while also leaving room for innovation and hybridity.
The series of accompanying photographs depict the shawl in a performance context, inspired in part by the performance and ritual art of Ana Mendieta. Wearing the shawl in nature demonstrates its use not only as an aesthetic "painting" but as a garment that can offer camouflage in the wilderness, a means to connect to the land, a portable space within which to connect to maternal nurturing, and an internal space of safety and homecoming. This was a project that extended beyond my identity as a solo artist, to incorporate my whole family. My husband would take the photographs which I had staged of me and my daughter.
By positioning the shawl within multiple contexts, my aim is to challenge the traditional hierarchy of the arts that places painting at the pinnacle, and fibre arts at the bottom. I also believe in the ability of 'text' tiles to transmit the stories of their makers. The stories of mothers, due to their mundanity, have been relegated for the most part to the background. I believe it is important to change this, to acknowledge and elevate the heroic stories of mothers' lived experiences so that they too can be honoured.
Madison Hendry (aka Mama Bird), transitioned into motherhood in 2014. As a visual artist and recent graduate in 2011 with a Master of Fine Arts in Sculpture from Brooklyn College, Brooklyn, NY, she began to see a shift in her artwork, career, and perspective on life. Her artwork has been exhibited and published internationally and included in pioneering events such as, Project AfterBirth; the first ever international exhibition based on the subject of early parenthood.
She received her MFA in Sculpture from Brooklyn College, Brooklyn, NY in 2011. Madison studied under the influential conceptual artists Vito Acconci, Blane de St. Croix and Tom Scicluna. Madison’s works on Motherhood have been exhibited internationally, including her most recent exhibition with ProCreate Project, “Mother Art Prize'', Cromwell Place, London, 2020, Solo Exhibition, “Mother/Infant,”Unperceived Existence, Gallery Shush, Europe (2018), “Project AfterBirth,” Whitechapel Gallery, London (2015); the first ever international exhibition on the subject of early parenthood. Publications include: “Mother Art”, Women Untied Art Magazine, House=Home, Arhitext, Romania. She is an Associate Artist of Digital Institute of Early Parenthood, with Artist Parent Index, Museum of Motherhood and an active Member of the Artist/Mother Thrive Together network.
Everything I do, everything I cherish, everything that satisfies me; these things bring me comfort and protection, and yet I feel trapped by doctrine and imposed values. In turn, I challenge myself to question my domesticated upbringing and the society in which I live by recreating memories that are often difficult to face. I tear back layers from my façade to recapture these past experiences, which can be agonizing, yet it is inevitable that I continue. This is catharsis. The process results in an artifact; a residue of the original memory, replacing what was once stifling or painful. I incorporate my own body as a canvas to push the boundaries of sexuality vs. maternity; shock vs. nurture. In my works, I utilize raw building materials usually hidden behind the walls such as: fiberglass insulation, air conditioning ducts and ventilation systems. In contrast, I use domestic objects used within the context of daily routine such as: dining room chairs, kitchen utensils, and traditional women’s work such as: quilting, crochet and embroidery. By combining materials that make up the home, with objects found within the home, I create an interior/exterior dialogue and in turn ask the viewer to question their own positions.
Caroline is an interdisciplinary artist. She spends her time creating woven wearables and narrative scenes that explore folkloric familial nostalgia. She blends life and art through costume and play. Caroline holds an M.F.A. from Pratt Institute and currently works as an arts educator in New York City. Her work has appeared in group shows both nationally and internationally, including the Montclair Art Museum of New Jersey, Children’s Museum of Arts in Manhattan, Kyoto Shibori Museum of Japan, and the Czong Institute for Contemporary Art in South Korea. She is the recipient of an NEA grant at Byrdcliffe Residency and a finalist for the 2022 Procreate Mother Art prize, 2023 Women’s United Art Prize: Photography, and a Semifinalist for the 2024 Outwin Boochever Portrait Competition. Her work appears on the cover of the 2024 novel Choose This Now by Nicole Haroutunian. She is a founding member of the Mother Creatrix Collective, a group of mother artists in New York who support each other's artistic practices by creating exhibition opportunities. Caroline currently lives and creates in Brooklyn with her wife, Karen, and kid, Sal.
My work speaks through masks and textiles of surreal lands of masked creatures. In these lands we are powerful and free, protected and proud. I draw upon my own cultural histories of mask wearers, elements of power and kink, and historical scenes of concealment. Masks denote power from the unknown, offer a costume for the jester, a shield for the fragile, and freedom from our perceived self. I want to be hidden and completely present. I want to be vulnerable and protected. This work is intimate.
The masks, or wearables, are made of scavenged materials ranging in process from crochet, knit, sewn, or woven textiles. My work engages these wearables within a familial folkloric narrative. I am exploring my own lore through textiles and play.
Denise Treizman is a Chilean-Israeli artist, currently based in Miami. Her work has been exhibited at PROTO GOMEZ Gallery, New York, New York; Wave Hill, Bronx, New York; Hybrid Art Fair, Madrid, Spain; Penn State University, Pennsylvania; Latino Arts, Milwaukee, Wisconsin; LVL3 Gallery, Chicago, Illinois; The Bronx Museum of the Arts, Bronx, New York; and Cuchifritos Gallery/Artist’s Alliance, New York, New York, Soho20 Gallery, New York, New York, PROTO Gallery, Hoboken, New Jersey, among others. Her work was extensively exhibited at the Orlando Museum of Art, for the 2023 Florida Prize in Contemporary Art.
Treizman has completed artist residencies at Mass MOCA, North Adams, Massachusetts; NARS Foundation International Artists Residency, Brooklyn, New York; Triangle Workshop, Salem, New York; ACRE Residency, Steuben, Michigan; Ox-Bow Residency, Saugatuck, Michigan; and Vermont Studio Center, Johnson, Vermont, among others. In 2015, she was fellow at the Bronx’s Museum Artist in the Marketplace program, culminating with “The Bronx Calling”, a biennial exhibition at the museum. That same year, Treizman was awarded a studio residency at the Elizabeth Foundation for the Arts Studio Program in New York City, where she developed her work until 2019. In 2016, Treizman created an interactive public artwork at Randall’s Island Park in New York, commission awarded by the NYC Parks Alliance and the Bronx Museum for the Arts.
Treizman earned an MFA from the School of Visual Arts, New York, and is currently a studio resident at Laundromat Art Space in Miami, Florida. Having lived in many densely populated cities over the years—Santiago, London, San Francisco, New York City, Haifa, and now Miami—her practice has stemmed from and benefited from throwaway culture.
Denise Treizman creates sculptures and installation-based works combining found objects and ready-made materials with brightly colored, textural, and sometimes luminescent weavings.
Through a practice of gleaning and repurposing, she accumulates materials with no specific purpose in mind, except having them at hand and available to subtly shape the creation of her works. Recurrent materials like yoga balls, pool noodles, glitter, ropes, hula-hoops, but also her finished weavings, get reused over and over in time. What was once presented as finished work can easily later on become a prompt for a new work. Nothing is permanent, everything transforms. Her process is at once an act of artistic ownership over her materials as well as a playful exploration of the infinite possibilities that they afford her.
Treizman critically examines hyper-consumerism, but at the same time, she paradoxically participates in it, relying on commercial goods and throwaway culture to make her work. She exposes her own way of dealing with excess: on one hand, she questions the real need for vibrantly patterned single-use materials, like pink flamingo-printed duct tape, or violet bubble wrap, to exist. On the other hand, she finds these playful materials to be absolutely irresistible. By incorporating them into her found object installations and unconventional weavings, she prompts the viewer to reflect on the mass-produced society in which we live.
Juried into prestigious national and international competitions as well as featured in art magazines and literary journals both in print and online publications, Odeta Xheka makes art to claim her voice as a woman artist because art is the opposite of speechlessness.
Born in the UNESCO heritage site of Berat, Albania, she currently lives in Tampa, Florida where she is the founder/director of OXH Gallery focused on a cross-generational, multi-medium approach to exhibiting which goes beyond the conventional white cube paradigm aiming to evolve into a lasting hub for culture and community.
By transferring my dedication to materials that come newly alive with each new viewing, from her usual heavily textured, mixed media canvases to new media, in this new series, an exercise in close looking, I hold on to my trademark conceptual rigor and painterly aesthetic sensibility while celebrating the emotional truth of a woman's selfhood as the most active and activating canvas via “Speaking in Pink Metaphors” - a reflection on who gets to be the subject of the story taking place at home, who matters behind the scene and who our compassion and interest should be directed at. What are we to do with the lives that are not remarkable, those lives that everyone ends up living?
Receptacle
Presented by OXH Gallery
May 16, 2024 - July 7, 2024
Opening Reception:
Thursday, May 16th, 6pm
OXH GALLERY
1624 E 7th Ave, Ybor City,
Tampa
Florida 33605
OXH GALLERY via Drift: an independent curators space under the umbrella of Tempus Projects, Ybor City is pleased to present Receptacle featuring Adria Arch, Julie Gladstone, Madison Hendry, Caroline McAuliffe, Denise Treizman, and Odeta Xheka.
The exhibition will be on view May 16, 2024 through July 11, 2024, with a performance by Madison Hendry and opening reception Thursday, May 16, 6-9pm.
In celebration of Mother’s Day, OXH Gallery is pleased to announce RECEPTACLE, a group show by women artists from Boston, New York, Cleveland, Miami, Tampa, and Toronto coming together to dissect their own slice of motherhood/personhood through paintings, textiles, photography, performance, installation and new media in the landmark Kress Building.
By giving voice to experiences that, although private, are felt by so many, the exhibition tackles social taboos that disallow nuanced perspectives when speaking about the complexity of motherhood, maternity, and women’s bodies in general and the time, energy and the physical and psychological space required to be a mother artist more specifically without losing sight of the fact that neither mothers nor artists are archetypes and narratives of their struggles, while mirroring larger societal forces, remain bound to their particular realities.
Alternatively, “Receptacle” is an effort to redirect the research on the artist-mother away from the tribulations of work-life balance toward a deeper understanding of her experience through the lens of social isolation, mental health, emotional wavering, and the art history canon in order to understand how the process of fictionalizing the self through art opens a window between (her) privacy and (her) sense of being seen that blurs the boundaries between documentation and invention.
Plan your visit to OXH GALLERY Art Gallery. We are open Thursdays 6 - 9pm, and admission is free. We also offer guided tours and private viewings upon request. Get in touch with us for more information.
GETTING HERE : OXH GALLERY is located at 1624 E 7th Ave in Ybor City. There is paid off-street parking on 7th Ave and surrounding streets, as well as various paid public lots. The closest lot is located at 1779 E 8th Ave. The free TECO Streetcar stops a block away at the Centro Ybor Station (#2) stop. Arriving by carpool or ride share is another great option!
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