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CODE GIRL
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JENA ARGENTA
AMY BANDOLIK
CAROL BASH
DONNA BASSIN
NAOMI BERKERY
RANNSY BJORK
BARBARA CHRISTOL
NEGIN DANESHVAR-MALEVERGNE
EMILY ELIZABETH
KRISTIN FLYNN
SUSAN HILLARY
JACQUILINE LOUISE HOLM
JUUJUUMAMA
RIVKA S. KATVAN
PARVATHI KUMAR
EILEEN MACAVERY
SYLVIA MUELLER
AMY NEWTON-MCCONNEL
TRACY PHILLIPS
SOLI PIERCE
JAILI RAMIREZ
ANN ROSEN
ALEKSANDRA SCEPANOVIC
IRINA SEDLETSKAYA
KARIN SVADLENAK
SUPRINA TROCHE
RACHEL WILLIAMS
WOOBIE
Grace (2023)
JENA ARGENTA
poem, prayer, translation, ink made from guns, chalk, metallic acrylic and gel, on paper.
32 1/4H x 24 1/8W in (81.9 × 61.3 cm) (framed)
US $6500
Cultivo una rosa blanca,
en julio como en enero,
para el amigo sincero
que me da su mano franca.
Y para el cruel que me arranca
el corazón con que vivo,
cardo ni oruga cultivo:
cultivo la rosa blanca.
I cultivate a white rose
in July as in January,
for the sincere friend,
that offers me a true hand.
And for the cruel one
that tears the heart from my life,
I cultivate neither nettle nor thorn
I cultivate a white rose.
“José Martí “The Apostle of Cuban Independence,” composed Cultivo Una Rosa Blanca while he was in exile in the Catskills not far from here. It’s part Versos Sencillos, “Simple Verses,” published in 1891, and later picked up & put to music by Joseífo Fernandez: “Guantanamera/ A woman from Guantanamo.” It’s an international anthem for anti-war and solidarity movements, a familiar stadium chant, but it quickly calls to mind abuses at the US military base in Guantanamo, increased 2026 sanctions, nation-wide black-outs, fuel shortages, and choked access to food & medical supplies.
What does it mean to cultivate a white rose in a context laced with thorns, forever wars and violent cruelty; one that is simultaneously multi-lingual, geographically & historically layered and moving at the speed of light? I use ink made from recycled guns (here in the underpainting) as a reminder: If there’s another world, it’s inside of this one, says Surrealist Paul Élaurd. Grace, like this rose, is a counterintuitive proposition at best. Like leadership, when it’s true and shared, grace emerges between reckoning and aspiration; between archive and love letter.
In this work, the central white forms are Martí’s poem, but the shape it makes is based on Arabic calligraphy. The diamond (nuqta) of the pen is the basis of proportion and balanced relationship between forms. It’s an alternate axis/ referent point — a constantly cultivated resolve that shows up in manner and bearing, not just a vantage point, institutionalized leadership, or fair weather friends and circumstances. Convincing or argument don’t necessarily cultivate a rose or invite grace, liberation or a new world.
This work is a way of circling and asking: What does? And what does it require of me? Here I use reflective materials and language as sediment, not just sentiment, to invite you to do the same. Because as Leonard Cohen sings — here in conversation with Martí in thin grey overlay — now it's too late to turn the other cheek.”
poem, prayer, translation, ink made from guns, chalk, metallic acrylic and gel, on paper.
32 1/4H x 24 1/8W in (81.9 × 61.3 cm) (framed)
US $6500
Cultivo una rosa blanca,
en julio como en enero,
para el amigo sincero
que me da su mano franca.
Y para el cruel que me arranca
el corazón con que vivo,
cardo ni oruga cultivo:
cultivo la rosa blanca.
I cultivate a white rose
in July as in January,
for the sincere friend,
that offers me a true hand.
And for the cruel one
that tears the heart from my life,
I cultivate neither nettle nor thorn
I cultivate a white rose.
“José Martí “The Apostle of Cuban Independence,” composed Cultivo Una Rosa Blanca while he was in exile in the Catskills not far from here. It’s part Versos Sencillos, “Simple Verses,” published in 1891, and later picked up & put to music by Joseífo Fernandez: “Guantanamera/ A woman from Guantanamo.” It’s an international anthem for anti-war and solidarity movements, a familiar stadium chant, but it quickly calls to mind abuses at the US military base in Guantanamo, increased 2026 sanctions, nation-wide black-outs, fuel shortages, and choked access to food & medical supplies.
What does it mean to cultivate a white rose in a context laced with thorns, forever wars and violent cruelty; one that is simultaneously multi-lingual, geographically & historically layered and moving at the speed of light? I use ink made from recycled guns (here in the underpainting) as a reminder: If there’s another world, it’s inside of this one, says Surrealist Paul Élaurd. Grace, like this rose, is a counterintuitive proposition at best. Like leadership, when it’s true and shared, grace emerges between reckoning and aspiration; between archive and love letter.
In this work, the central white forms are Martí’s poem, but the shape it makes is based on Arabic calligraphy. The diamond (nuqta) of the pen is the basis of proportion and balanced relationship between forms. It’s an alternate axis/ referent point — a constantly cultivated resolve that shows up in manner and bearing, not just a vantage point, institutionalized leadership, or fair weather friends and circumstances. Convincing or argument don’t necessarily cultivate a rose or invite grace, liberation or a new world.
This work is a way of circling and asking: What does? And what does it require of me? Here I use reflective materials and language as sediment, not just sentiment, to invite you to do the same. Because as Leonard Cohen sings — here in conversation with Martí in thin grey overlay — now it's too late to turn the other cheek.”
In the Act (2025)
AMY BANDOLIK
digital photograph
30H x 20W in (76.2 x 50.8 cm)
US $450
“Cold. Wet. In motion. Ice, water, hands. The work moves quickly, without hesitation. What begins on the boat arrives here, carried through the body, held and handled until it’s ready to pass on. In the Act engages GIRL not as category, but as force: Great, Inspiring, Remarkable, Leaders embodied through work. This image considers leadership not as title or declaration, but as practiced endurance — through wet, cold, physically demanding labor that has historically been coded masculine, yet is here performed through the female body with authority, precision, and care.”
digital photograph
30H x 20W in (76.2 x 50.8 cm)
US $450
“Cold. Wet. In motion. Ice, water, hands. The work moves quickly, without hesitation. What begins on the boat arrives here, carried through the body, held and handled until it’s ready to pass on. In the Act engages GIRL not as category, but as force: Great, Inspiring, Remarkable, Leaders embodied through work. This image considers leadership not as title or declaration, but as practiced endurance — through wet, cold, physically demanding labor that has historically been coded masculine, yet is here performed through the female body with authority, precision, and care.”
Black When I'm Blue 2 (2024)
CAROL BASH
digital photograph
13H x 18W in (33 x 45.7cm) (framed)
US $900
“Black When I’m Blue 2 is a re-imagining of Black women’s power within the universe. The intent behind the work is to place an archival cyanotype of an African American woman within a context outside of the actual time and place in which the photograph was created. Instead of viewing this woman as mostly poor and rural, which is the original environment, the photograph transmits her to an unspecified time and place where her power is restored and glorious.”
digital photograph
13H x 18W in (33 x 45.7cm) (framed)
US $900
“Black When I’m Blue 2 is a re-imagining of Black women’s power within the universe. The intent behind the work is to place an archival cyanotype of an African American woman within a context outside of the actual time and place in which the photograph was created. Instead of viewing this woman as mostly poor and rural, which is the original environment, the photograph transmits her to an unspecified time and place where her power is restored and glorious.”
My Own Witness Rupture and Repair. Dulce. 13 (2020)
DONNA BASSIN
archival pigment print, gold embroidery thread, gold rice paper, Moab Entrada Rag Natural 300, Epson Ultrachrome
K3 inks
22H x 16W in (55.9 x 40.6 cm)
edition 1/8
US $1000 (framed)
“My Own Witness: Rupture and Repair is a photographic series of black-and-white portrait collaborations that center women’s presence and the bonds they build to survive what is difficult to bear. In the years following the 2016 election — and deepening through the isolations of the pandemic — I invited women and gender-marginalized sitters who, through race, sexuality, gender identity, age, ethnicity, or disability, felt pushed to the edges of public life to co-create images that refuse erasure. I asked each sitter to “turn themselves inside out,” using gaze, gesture, clothing, and chosen objects to communicate emotional truth and become their own witnesses. A shared black velvet backdrop and chiaroscuro lighting place each portrait in the same visual field, linking distinct lives into a collective.
They are about the shared labor of witness and repair — women’s capacity to remain visible, to hold one another in complexity, and to keep going.”
archival pigment print, gold embroidery thread, gold rice paper, Moab Entrada Rag Natural 300, Epson Ultrachrome
K3 inks
22H x 16W in (55.9 x 40.6 cm)
edition 1/8
US $1000 (framed)
“My Own Witness: Rupture and Repair is a photographic series of black-and-white portrait collaborations that center women’s presence and the bonds they build to survive what is difficult to bear. In the years following the 2016 election — and deepening through the isolations of the pandemic — I invited women and gender-marginalized sitters who, through race, sexuality, gender identity, age, ethnicity, or disability, felt pushed to the edges of public life to co-create images that refuse erasure. I asked each sitter to “turn themselves inside out,” using gaze, gesture, clothing, and chosen objects to communicate emotional truth and become their own witnesses. A shared black velvet backdrop and chiaroscuro lighting place each portrait in the same visual field, linking distinct lives into a collective.
They are about the shared labor of witness and repair — women’s capacity to remain visible, to hold one another in complexity, and to keep going.”
My Own Witness Rupture and Repair. Shontel. 11 (2020)
DONNA BASSIN
archival pigment print, gold embroidery thread, gold rice paper, Moab Entrada Rag Natural 300, Epson Ultrachrome
K3 inks
22H x 16W in (55.9 x 40.6 cm)
edition 2/8
US $1000 (framed)
“My Own Witness: Rupture and Repair is a photographic series of black-and-white portrait collaborations that center women’s presence and the bonds they build to survive what is difficult to bear. In the years following the 2016 election — and deepening through the isolations of the pandemic — I invited women and gender-marginalized sitters who, through race, sexuality, gender identity, age, ethnicity, or disability, felt pushed to the edges of public life to co-create images that refuse erasure. I asked each sitter to “turn themselves inside out,” using gaze, gesture, clothing, and chosen objects to communicate emotional truth and become their own witnesses. A shared black velvet backdrop and chiaroscuro lighting place each portrait in the same visual field, linking distinct lives into a collective.
They are about the shared labor of witness and repair — women’s capacity to remain visible, to hold one another in complexity, and to keep going.”
archival pigment print, gold embroidery thread, gold rice paper, Moab Entrada Rag Natural 300, Epson Ultrachrome
K3 inks
22H x 16W in (55.9 x 40.6 cm)
edition 2/8
US $1000 (framed)
“My Own Witness: Rupture and Repair is a photographic series of black-and-white portrait collaborations that center women’s presence and the bonds they build to survive what is difficult to bear. In the years following the 2016 election — and deepening through the isolations of the pandemic — I invited women and gender-marginalized sitters who, through race, sexuality, gender identity, age, ethnicity, or disability, felt pushed to the edges of public life to co-create images that refuse erasure. I asked each sitter to “turn themselves inside out,” using gaze, gesture, clothing, and chosen objects to communicate emotional truth and become their own witnesses. A shared black velvet backdrop and chiaroscuro lighting place each portrait in the same visual field, linking distinct lives into a collective.
They are about the shared labor of witness and repair — women’s capacity to remain visible, to hold one another in complexity, and to keep going.”
My Own Witness. Rupture and Repair. Sufiyyah. 13. (2020)
DONNA BASSIN
archival pigment print, gold embroidery thread, gold rice paper, Moab Entrada Rag Natural 300, Epson Ultrachrome
K3 inks
22H x 16W in (55.9 x 40.6 cm)
edition 1/8
US $1000 (framed)
“My Own Witness: Rupture and Repair is a photographic series of black-and-white portrait collaborations that center women’s presence and the bonds they build to survive what is difficult to bear. In the years following the 2016 election — and deepening through the isolations of the pandemic — I invited women and gender-marginalized sitters who, through race, sexuality, gender identity, age, ethnicity, or disability, felt pushed to the edges of public life to co-create images that refuse erasure. I asked each sitter to “turn themselves inside out,” using gaze, gesture, clothing, and chosen objects to communicate emotional truth and become their own witnesses. A shared black velvet backdrop and chiaroscuro lighting place each portrait in the same visual field, linking distinct lives into a collective.
They are about the shared labor of witness and repair — women’s capacity to remain visible, to hold one another in complexity, and to keep going.”
archival pigment print, gold embroidery thread, gold rice paper, Moab Entrada Rag Natural 300, Epson Ultrachrome
K3 inks
22H x 16W in (55.9 x 40.6 cm)
edition 1/8
US $1000 (framed)
“My Own Witness: Rupture and Repair is a photographic series of black-and-white portrait collaborations that center women’s presence and the bonds they build to survive what is difficult to bear. In the years following the 2016 election — and deepening through the isolations of the pandemic — I invited women and gender-marginalized sitters who, through race, sexuality, gender identity, age, ethnicity, or disability, felt pushed to the edges of public life to co-create images that refuse erasure. I asked each sitter to “turn themselves inside out,” using gaze, gesture, clothing, and chosen objects to communicate emotional truth and become their own witnesses. A shared black velvet backdrop and chiaroscuro lighting place each portrait in the same visual field, linking distinct lives into a collective.
They are about the shared labor of witness and repair — women’s capacity to remain visible, to hold one another in complexity, and to keep going.”
My Own Witness. Rupture and Repair. Maryam. 1 (2020)
DONNA BASSIN
archival pigment print, gold embroidery thread, gold rice paper, Moab Entrada Rag Natural 300, Epson Ultrachrome
K3 inks
22H x 16W in (55.9 x 40.6 cm)
edition 1/8
US $1000 (framed)
“My Own Witness: Rupture and Repair is a photographic series of black-and-white portrait collaborations that center women’s presence and the bonds they build to survive what is difficult to bear. In the years following the 2016 election — and deepening through the isolations of the pandemic — I invited women and gender-marginalized sitters who, through race, sexuality, gender identity, age, ethnicity, or disability, felt pushed to the edges of public life to co-create images that refuse erasure. I asked each sitter to “turn themselves inside out,” using gaze, gesture, clothing, and chosen objects to communicate emotional truth and become their own witnesses. A shared black velvet backdrop and chiaroscuro lighting place each portrait in the same visual field, linking distinct lives into a collective.
They are about the shared labor of witness and repair — women’s capacity to remain visible, to hold one another in complexity, and to keep going.”
archival pigment print, gold embroidery thread, gold rice paper, Moab Entrada Rag Natural 300, Epson Ultrachrome
K3 inks
22H x 16W in (55.9 x 40.6 cm)
edition 1/8
US $1000 (framed)
“My Own Witness: Rupture and Repair is a photographic series of black-and-white portrait collaborations that center women’s presence and the bonds they build to survive what is difficult to bear. In the years following the 2016 election — and deepening through the isolations of the pandemic — I invited women and gender-marginalized sitters who, through race, sexuality, gender identity, age, ethnicity, or disability, felt pushed to the edges of public life to co-create images that refuse erasure. I asked each sitter to “turn themselves inside out,” using gaze, gesture, clothing, and chosen objects to communicate emotional truth and become their own witnesses. A shared black velvet backdrop and chiaroscuro lighting place each portrait in the same visual field, linking distinct lives into a collective.
They are about the shared labor of witness and repair — women’s capacity to remain visible, to hold one another in complexity, and to keep going.”
My Own Witness. Rupture and Repair. Aya. 1 (2020)
DONNA BASSIN
archival pigment print, gold embroidery thread, gold rice paper, Moab Entrada Rag Natural 300, Epson Ultrachrome
K3 inks
28H x 22W in (71 x 56 cm)
edition 1/3
US $1500 (framed)
“My Own Witness: Rupture and Repair is a photographic series of black-and-white portrait collaborations that center women’s presence and the bonds they build to survive what is difficult to bear. In the years following the 2016 election — and deepening through the isolations of the pandemic — I invited women and gender-marginalized sitters who, through race, sexuality, gender identity, age, ethnicity, or disability, felt pushed to the edges of public life to co-create images that refuse erasure. I asked each sitter to “turn themselves inside out,” using gaze, gesture, clothing, and chosen objects to communicate emotional truth and become their own witnesses. A shared black velvet backdrop and chiaroscuro lighting place each portrait in the same visual field, linking distinct lives into a collective.
They are about the shared labor of witness and repair — women’s capacity to remain visible, to hold one another in complexity, and to keep going.”
archival pigment print, gold embroidery thread, gold rice paper, Moab Entrada Rag Natural 300, Epson Ultrachrome
K3 inks
28H x 22W in (71 x 56 cm)
edition 1/3
US $1500 (framed)
“My Own Witness: Rupture and Repair is a photographic series of black-and-white portrait collaborations that center women’s presence and the bonds they build to survive what is difficult to bear. In the years following the 2016 election — and deepening through the isolations of the pandemic — I invited women and gender-marginalized sitters who, through race, sexuality, gender identity, age, ethnicity, or disability, felt pushed to the edges of public life to co-create images that refuse erasure. I asked each sitter to “turn themselves inside out,” using gaze, gesture, clothing, and chosen objects to communicate emotional truth and become their own witnesses. A shared black velvet backdrop and chiaroscuro lighting place each portrait in the same visual field, linking distinct lives into a collective.
They are about the shared labor of witness and repair — women’s capacity to remain visible, to hold one another in complexity, and to keep going.”
My Own Witness. Rupture and Repair. Catherine. 7 (2020)
DONNA BASSIN
archival pigment print, gold embroidery thread, gold rice paper, Moab Entrada Rag Natural 300, Epson Ultrachrome
K3 inks
28H x 22W in (71 x 56 cm)
edition 1/3
US $1500 (framed)
“My Own Witness: Rupture and Repair is a photographic series of black-and-white portrait collaborations that center women’s presence and the bonds they build to survive what is difficult to bear. In the years following the 2016 election — and deepening through the isolations of the pandemic — I invited women and gender-marginalized sitters who, through race, sexuality, gender identity, age, ethnicity, or disability, felt pushed to the edges of public life to co-create images that refuse erasure. I asked each sitter to “turn themselves inside out,” using gaze, gesture, clothing, and chosen objects to communicate emotional truth and become their own witnesses. A shared black velvet backdrop and chiaroscuro lighting place each portrait in the same visual field, linking distinct lives into a collective.
They are about the shared labor of witness and repair — women’s capacity to remain visible, to hold one another in complexity, and to keep going.”
archival pigment print, gold embroidery thread, gold rice paper, Moab Entrada Rag Natural 300, Epson Ultrachrome
K3 inks
28H x 22W in (71 x 56 cm)
edition 1/3
US $1500 (framed)
“My Own Witness: Rupture and Repair is a photographic series of black-and-white portrait collaborations that center women’s presence and the bonds they build to survive what is difficult to bear. In the years following the 2016 election — and deepening through the isolations of the pandemic — I invited women and gender-marginalized sitters who, through race, sexuality, gender identity, age, ethnicity, or disability, felt pushed to the edges of public life to co-create images that refuse erasure. I asked each sitter to “turn themselves inside out,” using gaze, gesture, clothing, and chosen objects to communicate emotional truth and become their own witnesses. A shared black velvet backdrop and chiaroscuro lighting place each portrait in the same visual field, linking distinct lives into a collective.
They are about the shared labor of witness and repair — women’s capacity to remain visible, to hold one another in complexity, and to keep going.”
My Own Witness. Rupture and Repair. Pandy. 24 (2020)
DONNA BASSIN
archival pigment print, gold embroidery thread, gold rice paper, Moab Entrada Rag Natural 300, Epson Ultrachrome
K3 inks
28H x 22W in (71 x 56 cm)
edition 1/3
US $1500 (framed)
“My Own Witness: Rupture and Repair is a photographic series of black-and-white portrait collaborations that center women’s presence and the bonds they build to survive what is difficult to bear. In the years following the 2016 election — and deepening through the isolations of the pandemic — I invited women and gender-marginalized sitters who, through race, sexuality, gender identity, age, ethnicity, or disability, felt pushed to the edges of public life to co-create images that refuse erasure. I asked each sitter to “turn themselves inside out,” using gaze, gesture, clothing, and chosen objects to communicate emotional truth and become their own witnesses. A shared black velvet backdrop and chiaroscuro lighting place each portrait in the same visual field, linking distinct lives into a collective.
They are about the shared labor of witness and repair — women’s capacity to remain visible, to hold one another in complexity, and to keep going.”
archival pigment print, gold embroidery thread, gold rice paper, Moab Entrada Rag Natural 300, Epson Ultrachrome
K3 inks
28H x 22W in (71 x 56 cm)
edition 1/3
US $1500 (framed)
“My Own Witness: Rupture and Repair is a photographic series of black-and-white portrait collaborations that center women’s presence and the bonds they build to survive what is difficult to bear. In the years following the 2016 election — and deepening through the isolations of the pandemic — I invited women and gender-marginalized sitters who, through race, sexuality, gender identity, age, ethnicity, or disability, felt pushed to the edges of public life to co-create images that refuse erasure. I asked each sitter to “turn themselves inside out,” using gaze, gesture, clothing, and chosen objects to communicate emotional truth and become their own witnesses. A shared black velvet backdrop and chiaroscuro lighting place each portrait in the same visual field, linking distinct lives into a collective.
They are about the shared labor of witness and repair — women’s capacity to remain visible, to hold one another in complexity, and to keep going.”
Total Package (2024)
NAOMI BERKERY
mixed media, wheat paste on canvas
24H x 24W in (61H x 61W cm)
US $2300
“This work reimagines the traditional postage stamp as a site of identity, movement, and visibility, merging the language of street art with intimate portraiture. By enlarging and disrupting the format of an “old school” stamp, the piece challenges systems of value, circulation, and who is deemed worthy of being seen, sent, or remembered. The female figure, layered with gestural marks, collage, and expressive line, exists within and beyond the boundaries of the stamp suggesting both containment and resistance. Elements such as postal markings, graffiti-inspired mark making, and textured overlays evoke the passage of time, travel, and lived experience, while also referencing the public voice of the street. In this context, the woman becomes both Message and Messenger. Her presence asserts that women’s stories, bodies, and identities are not only worthy of distribution, but powerful enough to disrupt the systems that attempt to frame them. The work celebrates visibility, agency, and the unapologetic imprint of women in both personal and public spaces.”
mixed media, wheat paste on canvas
24H x 24W in (61H x 61W cm)
US $2300
“This work reimagines the traditional postage stamp as a site of identity, movement, and visibility, merging the language of street art with intimate portraiture. By enlarging and disrupting the format of an “old school” stamp, the piece challenges systems of value, circulation, and who is deemed worthy of being seen, sent, or remembered. The female figure, layered with gestural marks, collage, and expressive line, exists within and beyond the boundaries of the stamp suggesting both containment and resistance. Elements such as postal markings, graffiti-inspired mark making, and textured overlays evoke the passage of time, travel, and lived experience, while also referencing the public voice of the street. In this context, the woman becomes both Message and Messenger. Her presence asserts that women’s stories, bodies, and identities are not only worthy of distribution, but powerful enough to disrupt the systems that attempt to frame them. The work celebrates visibility, agency, and the unapologetic imprint of women in both personal and public spaces.”
Unleashing the Lion (2021)
NAOMI BERKERY
mixed media on canvas
24H x 24W in (61H x 61W cm)
US $2100
“This work explores the layered strength of womanhood through a fusion of portraiture, collage, and expressive mark-making. The central figure emerges from fragmented environments, brick, lace, and pattern, symbolizing the structures, histories, and expectations that both confine and shape women’s identities. The use of torn materials and textured surfaces reflects resilience through rupture, while the bold, unapologetic gaze of the subject asserts presence, autonomy, and emotional depth. Graffiti-inspired line work and vibrant color accents disrupt traditional notions of femininity, reclaiming space with urgency and confidence. By juxtaposing softness and strength, lace against brick, delicacy against rawness. The piece honors the complexity of women’s experiences. It is both a celebration of identity and a declaration of power: women as creators, survivors, and forces of transformation.”
mixed media on canvas
24H x 24W in (61H x 61W cm)
US $2100
“This work explores the layered strength of womanhood through a fusion of portraiture, collage, and expressive mark-making. The central figure emerges from fragmented environments, brick, lace, and pattern, symbolizing the structures, histories, and expectations that both confine and shape women’s identities. The use of torn materials and textured surfaces reflects resilience through rupture, while the bold, unapologetic gaze of the subject asserts presence, autonomy, and emotional depth. Graffiti-inspired line work and vibrant color accents disrupt traditional notions of femininity, reclaiming space with urgency and confidence. By juxtaposing softness and strength, lace against brick, delicacy against rawness. The piece honors the complexity of women’s experiences. It is both a celebration of identity and a declaration of power: women as creators, survivors, and forces of transformation.”
Acceptance I (Shadow Work) (2026)
RANNSY BJORK
photograph on 100% cotton paper
24H x 36W in (60 x 90 cm)
US $6000 (whole project - edition 1 of 2)
“This ongoing project examines the relationship between light and shadow through the conceptual lens of Carl Gustav Jung’s analytical psychology, with particular emphasis on the notion of shadow work. In Jungian theory, the shadow encompasses those aspects of the psyche that are repressed, unacknowledged, or excluded from conscious self-representation. Rather than framing darkness as absence or negativity, the project approaches it as a generative psychological and symbolic space.
The visual language draws from two primary sources: self-portraiture and elements of the natural world. These subjects are sometimes treated independently and at other times merged, allowing human forms and natural structures to intersect and dissolve into one another. This merging reflects the conceptual intent of collapsing distinctions between inner psychological states and external environments. Light and shadow function as central formal and metaphorical devices throughout the project. The project is informed by Jung’s assertion that “one does not become enlightened by imagining figures of light, but by making the darkness conscious,” positioning the act of engagement with obscured or unresolved material as essential to psychological integration.”
photograph on 100% cotton paper
24H x 36W in (60 x 90 cm)
US $6000 (whole project - edition 1 of 2)
“This ongoing project examines the relationship between light and shadow through the conceptual lens of Carl Gustav Jung’s analytical psychology, with particular emphasis on the notion of shadow work. In Jungian theory, the shadow encompasses those aspects of the psyche that are repressed, unacknowledged, or excluded from conscious self-representation. Rather than framing darkness as absence or negativity, the project approaches it as a generative psychological and symbolic space.
The visual language draws from two primary sources: self-portraiture and elements of the natural world. These subjects are sometimes treated independently and at other times merged, allowing human forms and natural structures to intersect and dissolve into one another. This merging reflects the conceptual intent of collapsing distinctions between inner psychological states and external environments. Light and shadow function as central formal and metaphorical devices throughout the project. The project is informed by Jung’s assertion that “one does not become enlightened by imagining figures of light, but by making the darkness conscious,” positioning the act of engagement with obscured or unresolved material as essential to psychological integration.”
Acceptance II (Shadow Work) (2026)
RANNSY BJORK
photograph on 100% cotton paper
24H x 36W in (60 x 90 cm)
US $6000 (whole project - edition 1 of 2)
“This ongoing project examines the relationship between light and shadow through the conceptual lens of Carl Gustav Jung’s analytical psychology, with particular emphasis on the notion of shadow work. In Jungian theory, the shadow encompasses those aspects of the psyche that are repressed, unacknowledged, or excluded from conscious self-representation. Rather than framing darkness as absence or negativity, the project approaches it as a generative psychological and symbolic space.
The visual language draws from two primary sources: self-portraiture and elements of the natural world. These subjects are sometimes treated independently and at other times merged, allowing human forms and natural structures to intersect and dissolve into one another. This merging reflects the conceptual intent of collapsing distinctions between inner psychological states and external environments. Light and shadow function as central formal and metaphorical devices throughout the project. The project is informed by Jung’s assertion that “one does not become enlightened by imagining figures of light, but by making the darkness conscious,” positioning the act of engagement with obscured or unresolved material as essential to psychological integration.”
photograph on 100% cotton paper
24H x 36W in (60 x 90 cm)
US $6000 (whole project - edition 1 of 2)
“This ongoing project examines the relationship between light and shadow through the conceptual lens of Carl Gustav Jung’s analytical psychology, with particular emphasis on the notion of shadow work. In Jungian theory, the shadow encompasses those aspects of the psyche that are repressed, unacknowledged, or excluded from conscious self-representation. Rather than framing darkness as absence or negativity, the project approaches it as a generative psychological and symbolic space.
The visual language draws from two primary sources: self-portraiture and elements of the natural world. These subjects are sometimes treated independently and at other times merged, allowing human forms and natural structures to intersect and dissolve into one another. This merging reflects the conceptual intent of collapsing distinctions between inner psychological states and external environments. Light and shadow function as central formal and metaphorical devices throughout the project. The project is informed by Jung’s assertion that “one does not become enlightened by imagining figures of light, but by making the darkness conscious,” positioning the act of engagement with obscured or unresolved material as essential to psychological integration.”
Acceptance III (Shadow Work) (2026)
RANNSY BJORK
photograph on 100% cotton paper
24H x 36W in (60 x 90 cm)
US $6000 (whole project - edition 1 of 2)
“This ongoing project examines the relationship between light and shadow through the conceptual lens of Carl Gustav Jung’s analytical psychology, with particular emphasis on the notion of shadow work. In Jungian theory, the shadow encompasses those aspects of the psyche that are repressed, unacknowledged, or excluded from conscious self-representation. Rather than framing darkness as absence or negativity, the project approaches it as a generative psychological and symbolic space.
The visual language draws from two primary sources: self-portraiture and elements of the natural world. These subjects are sometimes treated independently and at other times merged, allowing human forms and natural structures to intersect and dissolve into one another. This merging reflects the conceptual intent of collapsing distinctions between inner psychological states and external environments. Light and shadow function as central formal and metaphorical devices throughout the project. The project is informed by Jung’s assertion that “one does not become enlightened by imagining figures of light, but by making the darkness conscious,” positioning the act of engagement with obscured or unresolved material as essential to psychological integration.”
photograph on 100% cotton paper
24H x 36W in (60 x 90 cm)
US $6000 (whole project - edition 1 of 2)
“This ongoing project examines the relationship between light and shadow through the conceptual lens of Carl Gustav Jung’s analytical psychology, with particular emphasis on the notion of shadow work. In Jungian theory, the shadow encompasses those aspects of the psyche that are repressed, unacknowledged, or excluded from conscious self-representation. Rather than framing darkness as absence or negativity, the project approaches it as a generative psychological and symbolic space.
The visual language draws from two primary sources: self-portraiture and elements of the natural world. These subjects are sometimes treated independently and at other times merged, allowing human forms and natural structures to intersect and dissolve into one another. This merging reflects the conceptual intent of collapsing distinctions between inner psychological states and external environments. Light and shadow function as central formal and metaphorical devices throughout the project. The project is informed by Jung’s assertion that “one does not become enlightened by imagining figures of light, but by making the darkness conscious,” positioning the act of engagement with obscured or unresolved material as essential to psychological integration.”
Acceptance IV (Shadow Work) (2026)
RANNSY BJORK
photograph on 100% cotton paper
24H x 36W in (60 x 90 cm)
US $6000 (whole project - edition 1 of 2)
“This ongoing project examines the relationship between light and shadow through the conceptual lens of Carl Gustav Jung’s analytical psychology, with particular emphasis on the notion of shadow work. In Jungian theory, the shadow encompasses those aspects of the psyche that are repressed, unacknowledged, or excluded from conscious self-representation. Rather than framing darkness as absence or negativity, the project approaches it as a generative psychological and symbolic space.
The visual language draws from two primary sources: self-portraiture and elements of the natural world. These subjects are sometimes treated independently and at other times merged, allowing human forms and natural structures to intersect and dissolve into one another. This merging reflects the conceptual intent of collapsing distinctions between inner psychological states and external environments. Light and shadow function as central formal and metaphorical devices throughout the project. The project is informed by Jung’s assertion that “one does not become enlightened by imagining figures of light, but by making the darkness conscious,” positioning the act of engagement with obscured or unresolved material as essential to psychological integration.”
photograph on 100% cotton paper
24H x 36W in (60 x 90 cm)
US $6000 (whole project - edition 1 of 2)
“This ongoing project examines the relationship between light and shadow through the conceptual lens of Carl Gustav Jung’s analytical psychology, with particular emphasis on the notion of shadow work. In Jungian theory, the shadow encompasses those aspects of the psyche that are repressed, unacknowledged, or excluded from conscious self-representation. Rather than framing darkness as absence or negativity, the project approaches it as a generative psychological and symbolic space.
The visual language draws from two primary sources: self-portraiture and elements of the natural world. These subjects are sometimes treated independently and at other times merged, allowing human forms and natural structures to intersect and dissolve into one another. This merging reflects the conceptual intent of collapsing distinctions between inner psychological states and external environments. Light and shadow function as central formal and metaphorical devices throughout the project. The project is informed by Jung’s assertion that “one does not become enlightened by imagining figures of light, but by making the darkness conscious,” positioning the act of engagement with obscured or unresolved material as essential to psychological integration.”
Blue Presence (2026)
BARBARA CHRISTOL
sky‑blue wool (Bergère de France), arm‑woven, unraveled and rewoven for this activation; suspended textile installation
approx. 275.6 in x 137.8 in (700 x 350 cm)
$price on request
“I work with line, thread, and gesture as ways of thinking. My practice moves between painting, drawing, weaving, photography, and installation, yet it always returns to the same question: how does a structure shape what can be seen, felt, or understood?
For CODE GIRL, I reactivate a woven cover that becomes both surface and declaration. Weaving is, for me, a form of writing. Each thread is a unit of code — a decision, a rhythm, a constraint. The modest gesture of weaving, historically associated with women’s labor and often relegated to the domestic sphere, becomes through repetition a force that expands and grows into a form approaching monumentality. This monumentality emerges from the softness of the blue-sky wool thread — a softness that insists, that persists, that occupies space without domination. In this suspended form, Blue Presence reveals itself as a kind of blue code — a logic generated by the thread itself, unfolding through repetition, unraveling, and the quiet insistence of the gesture.
Suspended in the gallery space, the work can be approached differently: its open structure allows the viewer to see through the mesh, to move around it, to experience shifting transparencies and thresholds. This hanging form alters circulation and creates a vertical presence that echoes both the enduring patience of a woven narrative and the quiet authority of a totem — a marker of place, memory, and shared identity.
In my work, softness is a strategy of presence. It offers a way for women and gender‑expansive identities to inhabit space through material, through slowness, through the steady construction of form.
In this context, GIRL is not a label but a structure — a framework for declaring one’s place, one’s visibility, one’s internal logic. The woven object becomes an extended body, a shared territory, a quiet but undeniable presence.
This piece continues my exploration of how line, material, and gesture articulate a personal code through which identity takes shape, protects itself, or reveals itself.”
sky‑blue wool (Bergère de France), arm‑woven, unraveled and rewoven for this activation; suspended textile installation
approx. 275.6 in x 137.8 in (700 x 350 cm)
$price on request
“I work with line, thread, and gesture as ways of thinking. My practice moves between painting, drawing, weaving, photography, and installation, yet it always returns to the same question: how does a structure shape what can be seen, felt, or understood?
For CODE GIRL, I reactivate a woven cover that becomes both surface and declaration. Weaving is, for me, a form of writing. Each thread is a unit of code — a decision, a rhythm, a constraint. The modest gesture of weaving, historically associated with women’s labor and often relegated to the domestic sphere, becomes through repetition a force that expands and grows into a form approaching monumentality. This monumentality emerges from the softness of the blue-sky wool thread — a softness that insists, that persists, that occupies space without domination. In this suspended form, Blue Presence reveals itself as a kind of blue code — a logic generated by the thread itself, unfolding through repetition, unraveling, and the quiet insistence of the gesture.
Suspended in the gallery space, the work can be approached differently: its open structure allows the viewer to see through the mesh, to move around it, to experience shifting transparencies and thresholds. This hanging form alters circulation and creates a vertical presence that echoes both the enduring patience of a woven narrative and the quiet authority of a totem — a marker of place, memory, and shared identity.
In my work, softness is a strategy of presence. It offers a way for women and gender‑expansive identities to inhabit space through material, through slowness, through the steady construction of form.
In this context, GIRL is not a label but a structure — a framework for declaring one’s place, one’s visibility, one’s internal logic. The woven object becomes an extended body, a shared territory, a quiet but undeniable presence.
This piece continues my exploration of how line, material, and gesture articulate a personal code through which identity takes shape, protects itself, or reveals itself.”
Why the Silence... No 1 (2019)
NEGIN DANESHVAR-MALEVERGNE
digital print on 240g satin photo paper
27.5H x 19.6W in (70 x 50 cm)
US $500 (unframed)
“In some cultures, women must fight to remain visible in the public space and avoid being confined and buried in the private space. She must fight against objectification, erasure, and death. Her resistance, as a reclamation of public space, takes shape in Speech, against the Silence that condemns, in Writing as Revelation, and Art as Liberation. Wanting to be free is a choice of Life, but not a light and momentary Temptation.”
digital print on 240g satin photo paper
27.5H x 19.6W in (70 x 50 cm)
US $500 (unframed)
“In some cultures, women must fight to remain visible in the public space and avoid being confined and buried in the private space. She must fight against objectification, erasure, and death. Her resistance, as a reclamation of public space, takes shape in Speech, against the Silence that condemns, in Writing as Revelation, and Art as Liberation. Wanting to be free is a choice of Life, but not a light and momentary Temptation.”
Why the Silence... No 5 (2019)
NEGIN DANESHVAR-MALEVERGNE
digital print on 240g satin photo paper
27.5H x 19.6W in (70 x 50 cm)
US $500 (unframed)
“In some cultures, women must fight to remain visible in the public space and avoid being confined and buried in the private space. She must fight against objectification, erasure, and death. Her resistance, as a reclamation of public space, takes shape in Speech, against the Silence that condemns, in Writing as Revelation, and Art as Liberation. Wanting to be free is a choice of Life, but not a light and momentary Temptation.”
digital print on 240g satin photo paper
27.5H x 19.6W in (70 x 50 cm)
US $500 (unframed)
“In some cultures, women must fight to remain visible in the public space and avoid being confined and buried in the private space. She must fight against objectification, erasure, and death. Her resistance, as a reclamation of public space, takes shape in Speech, against the Silence that condemns, in Writing as Revelation, and Art as Liberation. Wanting to be free is a choice of Life, but not a light and momentary Temptation.”
Why the Silence... No 6 (2019)
NEGIN DANESHVAR-MALEVERGNE
digital print on 240g satin photo paper
27.5H x 19.6W in (70 x 50 cm)
US $500 (unframed)
“In some cultures, women must fight to remain visible in the public space and avoid being confined and buried in the private space. She must fight against objectification, erasure, and death. Her resistance, as a reclamation of public space, takes shape in Speech, against the Silence that condemns, in Writing as Revelation, and Art as Liberation. Wanting to be free is a choice of Life, but not a light and momentary Temptation.”
digital print on 240g satin photo paper
27.5H x 19.6W in (70 x 50 cm)
US $500 (unframed)
“In some cultures, women must fight to remain visible in the public space and avoid being confined and buried in the private space. She must fight against objectification, erasure, and death. Her resistance, as a reclamation of public space, takes shape in Speech, against the Silence that condemns, in Writing as Revelation, and Art as Liberation. Wanting to be free is a choice of Life, but not a light and momentary Temptation.”
Regina (2024)
EMILY ELIZABETH
mixed media and found object
48L x 36H × 36D in (122 x 91.4 x 91.4 cm)
US $900
“GIRL is a complex word that in unfortunate contexts can be used to diminish and reduce. Here, the Pictorial Foundation has re-written this word as a deliberate act to re-contextualize its language and reclaim identity. GIRL is no longer an interface where the meaning is fixed but continually expands and is negotiated. Regina explores the female body as a site of connection and control. Intertwined by tubes, she exists within a system that both restrains and sustains. She is a visual metaphor that echoes technological and social codes that shows how a woman can be defined and understood.”
mixed media and found object
48L x 36H × 36D in (122 x 91.4 x 91.4 cm)
US $900
“GIRL is a complex word that in unfortunate contexts can be used to diminish and reduce. Here, the Pictorial Foundation has re-written this word as a deliberate act to re-contextualize its language and reclaim identity. GIRL is no longer an interface where the meaning is fixed but continually expands and is negotiated. Regina explores the female body as a site of connection and control. Intertwined by tubes, she exists within a system that both restrains and sustains. She is a visual metaphor that echoes technological and social codes that shows how a woman can be defined and understood.”
North Lookout (2025)
KRISTIN FLYNN
acrylic on paper
60H x 22W in (152.5H x 56W cm)
US $2400
“North Lookout presents a woman as herself in full scale. She is confronting the viewer, asserting her presence as strong, knowing, an integral part of the natural world. She is not to be overlooked or dismissed.”
acrylic on paper
60H x 22W in (152.5H x 56W cm)
US $2400
“North Lookout presents a woman as herself in full scale. She is confronting the viewer, asserting her presence as strong, knowing, an integral part of the natural world. She is not to be overlooked or dismissed.”
The Pratt in the Hat (2021)
SUSAN HILLARY
“I was inspired to create this short film, The PRATT in the HAT, when I spotted Frances across a crowded political dinner. In a sea of gray Frances was a pop of color - adorned in one of her striking large striking hats, she seemed to be a beacon of light. I asked her if I could photograph her because I loved her hat – she then told me she had about 300 hats. Which of course I asked to photograph. Each one is a work of art. As I photographer she told me her story – her story of strength, grace and integrity in the face of racial discrimination. Beneath her large-brimmed bonnets Frances is a role model, a woman whose personal insight and style stood up against racial inequality and injustice. Her story is now so important and relevant and is instructive as to how we as women need to stand up against all forms of oppression and injustice, subtly and directly.”
“I was inspired to create this short film, The PRATT in the HAT, when I spotted Frances across a crowded political dinner. In a sea of gray Frances was a pop of color - adorned in one of her striking large striking hats, she seemed to be a beacon of light. I asked her if I could photograph her because I loved her hat – she then told me she had about 300 hats. Which of course I asked to photograph. Each one is a work of art. As I photographer she told me her story – her story of strength, grace and integrity in the face of racial discrimination. Beneath her large-brimmed bonnets Frances is a role model, a woman whose personal insight and style stood up against racial inequality and injustice. Her story is now so important and relevant and is instructive as to how we as women need to stand up against all forms of oppression and injustice, subtly and directly.”
Skinny Dipping
SUSAN HILLARY
acrylic on framed glass window
76H x 18W in (193 × 46 cm)
US $10,000
“This piece is actually a painting on a French door window I found on the side of the road. I had taught myself to paint originally on glass when I was living in NYC in the 1980s. Painting on windows is painting in reverse, putting the details down before the background. When hung in a window, the painted windows change throughout the day depending on the natural light. This piece was inspired from a storyboard of script, I was helping develop at the time entitled “Kill Bill”, not the Tarantino film, which was written by a very strong woman, Eva Montenegro, and was about a very strong female protagonist, whose passion for living and loving changes the lives of those around her. I used films starring Esther Williams as reference images. For me water and the female energies are deeply connected in the act of swimming and embracing underwater.”
acrylic on framed glass window
76H x 18W in (193 × 46 cm)
US $10,000
“This piece is actually a painting on a French door window I found on the side of the road. I had taught myself to paint originally on glass when I was living in NYC in the 1980s. Painting on windows is painting in reverse, putting the details down before the background. When hung in a window, the painted windows change throughout the day depending on the natural light. This piece was inspired from a storyboard of script, I was helping develop at the time entitled “Kill Bill”, not the Tarantino film, which was written by a very strong woman, Eva Montenegro, and was about a very strong female protagonist, whose passion for living and loving changes the lives of those around her. I used films starring Esther Williams as reference images. For me water and the female energies are deeply connected in the act of swimming and embracing underwater.”
Code Great (2026)
JACQUILINE LOUISE HOLM
double exposure photography and graphical poetry printed on fine art paper, mounted on Dibond, unframed
16H x 28W in (70 x 40 cm)
Edition 1/1
$4500
“This piece is about the body and the shapes it is taught to fit into. GREAT is not something to achieve here, but something that remains when those shapes don’t hold. It’s about staying whole instead of adjusting.”
double exposure photography and graphical poetry printed on fine art paper, mounted on Dibond, unframed
16H x 28W in (70 x 40 cm)
Edition 1/1
$4500
“This piece is about the body and the shapes it is taught to fit into. GREAT is not something to achieve here, but something that remains when those shapes don’t hold. It’s about staying whole instead of adjusting.”
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