￼Fruits of Labor — Reframing Motherhood and Artmaking
Curated by Bruna Shapira
November 3 - December 23, 2023

(Entrance)
Gabriela Vainsencher, Why Is It So Quiet? (Pink)/Mother Figures series, 2022,
Porcelain, glaze, and underglaze, 12 in. × 11 × ¼ in.

Porcelain ceramic piece depicting a face in 3-quarter view. The
ceramic is split into 4 organic shapes.

(Following Left Wall)

Anna Maria Maiolino, You+Me, 1995, Poem, Dimensions variable
My hands workI weave with the threads of hopepleasure coexists in my crypainthe call of children
my paradigm is Antigone in her brotherly lovecompassion accompanies me
my sex is an abstraction
a vacuum
I feel the walls of my hollow in the presence of the othermultiplying in spirals, enjoyment
my hands work
washcleancookknead bread￼model clay
and with my eyes I read philosophy
I like poetry
I'm amazed by technology
politics
the dominance of intolerance
greed scares me
why are you in such a hurry?
and you, my companion,
why do you emphasize the differences so much?
because I am in you
and you are me.

Ahna Serendren, Slipstream, 2022, Acrylic and sand on canvas, 20 in. X 16 in.

Abstract blue, green painting with a stroke of mauve in theupper middle. The canvas is textured with sand.

Ahna Serendren, Swell, 2022, Acrylic, oil, sand andcharcoal on canvas, 20 in. X 16 in.

Textured abstract painting that is green, blue, and pink.

￼Gabriela Vainsencher, Missing Person/Back Dirt series, 2018, Pigment print onarchival satin paper, 64.75 in. x 40 in.

Sepia toned photograph. An image is cut in layers revealing rocktextures of photographs layered behind. The effect creates a
missing figure.

Anna Maria Maiolino, Me+You, 1971, Poem, Dimensions variable
me + youbody + body
body to body
body in bodyindividuality lostdouble structure bodyI encounterme + younew body
Sara Shaoul, Belly, 2019, Baby monitor filmed with video camera, 1'02''

Video filmed through a baby monitor of a figure
manipulating their postpartum stomach.

￼Anna Maria Maiolino, Four Sides, 1976, Poem, dimensions variable
Four sides
my roomin this quadrilateralperfectly squared
I project, draw
sketch, erase, do overa thousand and one shapes of wings.

Graziela Kunsch, Small Public Daycare, 2023, Free parental daycare divided into careareas, where adults take care of babies, and a play area, where babies can take care ofthemselves. Project inspired by Emmi Pikler's pedagogical approach, 9.6 in. X 13.8 in X
11.5 in.

*(see final page for full details and image descriptions)

Koyoltzintli, Medicine Woman/In the Mouth of the Mountain Jaguar Everybody is aDancing Hummingbird series, 2010-2019, Photograph and painting, with intervention
by Julio Toaquiza, 19 in. X 21 in.

Photograph of mountain landscape with pond inforeground. Throughout the composition birds andanimals have been painted in. A painted figure of awoman is sitting in the middle right of the frame.

￼

Katya Meykson, Untitled, 2021, Linen, cotton thread, gouache, recycled cardboard, 11in. x 16 in.

Purple soft sculpture. The organic shapes of the soft sculpture
frame the more geometric shapes of its recycled cardboard
center.

Katya Meykson, Untitled, 2020, Velvet and cotton thread, 12in. x 14 in.

Blue and green soft sculpture

Ashley January, She was given agency in the process and survived, 2021, Oil andacrylic on linen, 24 in. X 36 in.

Painting of a mother and child figure in a grassy￼landscape. To their left is a figure sitting and to their right is a pond filled with lily pads.

Anna Maria Maiolino, I seize the minute, 1992, Poem, dimensions variable
I seize the minutethe second
the instant
the thousandth of a thousandth of the instantI add-subtract time
until the end.
Koyoltzintli, Gathering Roots and Holding up the Mirror/MEDA series, 2019-2020,
Photograph, 22 in. X 37 in.

Black and white image of two figures cradled within acave-like rock structure.

* Graziela Kunsch, Small Public Daycare, 2023
Parental daycare divided into care areas, where adults take care of babies, and a play
area, where babies can take care of themselves. Project inspired by Emmi Pikler's
pedagogical approach. In collaboration with Anna Ruth Myers.
Special Thanks To:

￼Pikler-Loczy Hungarian Association, Pikler House Budapest, Deborah Salles, ÁgnesSorossy, Amber Winick, exu, Elke Avenarius, Tomas Opitz, Bianca Parizi, Nurtured
Child, Leith Speer Barton, John Poortinga and RAD Children's Furniture, Manuela
Guimarães Kunsch
Photos:Marian Reismann, From Pikler-Loczy Hungarian Association, 1971, 11x11 in.

Black and white photo of child on examination table pullingup pants, assisted by attending medical professional.

Marian Reismann, From Pikler-Loczy Hungarian
Association, 1970, 11x11 in.

Black and white photo of child on examination table being
handed shoe by attending medical professional.

Marian Reismann, From Pikler-Loczy Hungarian Association, 1970, 11x11 in.

Black and white image of a child playing with a ball and cup.

￼Marian Reismann, From Pikler-Loczy Hungarian
Association, 1966, 11x11 in.

Black and white image of a child on outside concrete
stairs. The child lays across several steps, reaching forthe lowest step in the frame.

Marian Reismann, From Pikler-Loczy Hungarian
Association, 1975, 11x11 in.

Black and white image of a child hanging from a crib
reaching for a door knob.

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