body politics
A curated group exhibition of New England based artists
coming soon
Artists:
Angelo Spagnolo, Barb Abulashvili, Breslin Bell, Maria Cazzato, Caleb Cole, Catherine LeComte, Chance DeVille, Drew Eastwood, Kenny Delino, Maria Gelsomini, Quincey Spagnoletti, Sandra Stark, Soulé Déesse, Vivian Poey, W.O.V, Yoav Horesh, Yu Cheng, Zoë Ingram
body politics is a group exhibition of New England based artists who depict and engage with the human body within the context of the United States at this point in history. Alert with their own agency of identity, their work reflects care, pain, and defiance in a changing social landscape. The human body is increasingly a site of political contestation, including reproductive rights, racial justice, gender expression, and bodily autonomy.
Through a diverse range of media—including painting, sculpture, photography, and drawing—body politics presents works that interrogate the systems of power that seek to regulate and define bodies and the toll it takes on the people affected.
Soulé Déesse’s piece, Limbrephantômes (2025), is a wall installation that blends sculpture, painting, and drawing to evoke the presence of an absence, that of the body. Like phantom limbs, the art work replaces the sensorial immediacy and integrity of the body with faint, but no less real, recollections of its past presence and mobility. The artist’s goal is to point out that something is missing, when it is, even if one cannot quite explain yet why—but that is the only way to start doing something about it.
Catherine LeComte’s photograph from the series Collateral Damage explores an overlooked aspect of the fallout of the Dobbs decision: diminishing access to medical care for women who spontaneously miscarry. One in four pregnancies (or approximately 1 million a year in the U.S.) end in a miscarriage. Complications require the same medical interventions as abortions. Women have entered a new landscape of risk as doctors and pharmacists increasingly delay or deny miscarriage care for fear of running afoul of abortion bans.
Drew Eastwood’s sculptures approach collage as a conceptual framework and a physical process, seeking to re-construct a new cultural identity, one that envisions a future both acknowledging, yet resisting, archaic gender preconceptions. Quincy Spagnoletti also considers the role of gender in her photograph, I Like Ironing Dad’s Shirts, and the traditional performances of women in society
preview
