Reverse Ekphrasis Art Show

Artist Statement: I wanted to create a scene that was simultaneously beautiful and hauntingly eerie, so I chose colors that calm and sooth but also speak of bruises. They're still beautiful because they cannot take away our beauty with their ugly evil deeds. The damage runs deep like a river, echoing through time, cleansing and healing, but still aching. I hope to honor those who came before me by using my art to bring attention to the violence against Indigenous women and the reverberations of that pain and loss.

Artist Statement: Through discussions with the poem's author, Kimberly Blaeser, I learned that she began writing this piece after hearing that the body of a young girl had been found in a river near the place she grew up. I was haunted by images of girls and young women's bodies in the water and wanted to present imagery that showed this terrifying scene in a way that was somewhat peaceful. While the last moments of these girls' and women's lives were met with extreme violence, I hope they found peace. It was important for me to showcase women and young children to ensure people understand this violence is being experienced by children, as well as adults. 

Artist Statement: “Echoes of pain: Native Woman in the USA” is an abstract acrylic painting where I deliberately used red, blue, shimmering glitter, and stars reminiscent of the American flag. I invite viewers to contemplate the struggles Native American women face while living in the United States of America. 

Artist Statement: In my artwork, I explore the relationship between faith, identity, and societal norms through abstract forms and symbolic imagery. Inspired by the poem "When Her Body is a Battleground" by Kimberly Blaeser, my piece delves into the complexities of human experience and existential inquiry. The artwork features a woman's head silhouette, symbolizing the individual grappling with mortality and spirituality. The artwork blurs the boundaries between representation and abstraction, inviting viewers to contemplate the layers of meaning. The juxtaposition of religious symbolism with unconventional behavior challenges preconceived notions and encourages dialogue about faith and belief systems. The artwork serves as a conduit for reflection, inviting viewers to explore the intricate tapestry of human experience and the quest for meaning in the face of mortality.

Artist Statement: "What makes someone who they are?” is the question that ran through my mind when making this piece. The idea of a person being molded into their true self was translated as this mix of patterns, strokes, and drips seen in this art piece. The inspiration came from how Native Americans are subject to such change in life. Purple is also a symbol of wisdom and mystery to Native Americans. 

Artist Statement: This painting represents the Wiindigo, a cannibalistic giant or monster. You can find the words "I will get you" on the snakes that encircle the piece. The gold teeth at the center anchor the piece. 

I began painting again in 2020. I turned to color and shapes rather than portraiture and figure. My paint is applied in thick layers exaggerated even more so by multiple layers of glue serving as an underpinning. The glue not only adds thickness to the paint but also runs in ways which produces unique shapes that take on lives of their own. 

Artist Statement: This piece represents the power of a Native American woman. When creating this piece I had emotions of confidence in mind.The heavy red color is symbolic to the resilience, courage and creativity of a Native American woman.

Artist Statement: This piece is a representation of part ii using a graphic novel style of art. It ends with a depiction of a woman waltzing with death. 

Excerpt from Kimberly Blaeser's poem:

                        ii.
Soon funeral casserole becomes habit—
macaroni-corn-hamburger fix in cold basements.
Church bakers worry three eggs in a cake

is extravagance—unnecessary as salt
on a tomato. As two choruses of goodbye.
Her fistful of grave dirt cocked like a gun.

No one can waltz around death in the end.

Artist Statement: I was struck by the idea that three eggs for a cake could become an extravagance of mourning. When I further considered how mourning might be misconstrued as excessive, I decided to play with the visuals of broken eggs in an attempt to show both the everyday-ness and the brokenness of this concept. I preferred a blend of photography and virtual art because I wanted to make it clear that this is a real life problem that requires action, not one left to an imaginary realm or fantasy. 

Artist Statement: “Strength amidst sorrow: Portrait of a Native Woman” shows the graceful nature of an indigenous woman who, despite the turmoil surrounding her, wears a gentle smile. By using markers on a wood panel, I honor and show the strength and beauty of a Native American woman.

Artist Statement: This art piece was super fun to make. The unique cultural accessories and face designs of native heritage can be seen in this cute girl. The girl’s ears are exaggerated to highlight the intuitive charm of a free spirited Native American. 

Artist Statement: “Pink Spirit Guardian” was a healing piece for me to make. I honor the resilience of Indigenous women who continue to dream and heal others despite their heartbreak and the trials they face.

Artist Statement: The Wendigo serves as a symbol of the colonizers who are killing the Indigenous population in North America. The girl has had her arm removed and eaten by the cannibalistic spirit, stopping her from reaching the spirit world. The Wendigo places a deer skull upon her face, masking her glassy-eyed death with a symbol of gracefulness and peace. The gruesome truth is hidden beneath the colonizer’s secret-keeping.

Artist Statement: My art piece, “Wisdom Box” contains imagery such as a white wolf with pain in his eyes, an exhausted tipi, and an electrifying dreamcatcher. I invite viewers to think about the enduring strength and spirituality of Native Americans.

Artist Statement: Two lines that haunted me long after reading "When Her Body is a Battleground" were "make of your voice a search party" and "only an open trunk means no body." These pieces speak to the current list of Missing and Murdered Indigenous People (MMIP). In one piece a woman cries out, a light echoing from her mouth illuminates the power of her voice and the hope that light is shed on this issue. The names of currently missing Indigenous people are listed behind her. This list can be found at https://www.bia.gov/service/mmu. The other pieces feature cars with open and empty trunks. They are eery and mundane at the same time.  They are meant to pay homage to those whose bodies have been discarded and carried in the trunks of vehicles. 

Artist Statement: While creating “Golden Heartbeats,” I intentionally chose to make the dreamcatcher a heart shape to represent the love and collective resilience within indigenous communities. I invite viewers to be reminded of the enduring bonds between Indigenous women and the interconnectedness of their experiences. 

Artist Statement: After reading "When Her Body is a Battleground" by Kimberley Blaeser, I felt a very dark mood settling upon me. Being an avid reader, I love being immersed in the words in front of me but not this time. What stood out to me was how the violence against women was made ordinary and trivial in Ms. Blaeser's imagery. The mention of everyday food made it like an everyday affair ironically. I couldn't get past the mention of funerals, food and the other run of the mill, ordinary things juxtaposed together with such a somber situation. 

I have used a black textured background for my art to represent the idea of broken women of color, bruised skin, families fragmented from loss, and the darkness that settles over an unexpected, tragic loss. The vermillion represents the danger and the violence of this poem's theme. The gold leaf is symbolic for the armor we wear as women in a patriarchal world. It is there, but it is not enough because of how systemic and universal this problem is. Growing up in India, I was exposed to stories of tribal and rural women facing this kind of fate quite often. Lastly the hearts are for all the women who have been lost and buried over time. 

Artist Statement: In “Hearts Dance with Red and White”, I used red and white acrylic paint as well as bright yellow glitter as symbols of Indigenous women’s steadfast strength and beauty. I invite viewers to remember the vibrant presence and unwavering spirit of Native American women.

Artist Statement: I was delighted to make this piece. My favorite part was painting the Native American woman. I intentionally added gold paint to bring an energy of richness and confidence to this piece.

It’s always been art for Alyssa Paxson, starting with a love of dance as a little girl, playing the flute in bands and orchestras into young adulthood, and onto visual arts in college and beyond. Alyssa is a native Floridian with Oglala Lakota and Cherokee ancestry, among others. She has a BFA in Fine Art from Florida Southern College, and primarily works in oil paint since 2003. Alyssa lives in Lakeland with her husband, Russ and son, Fox. Most recently she is exploring digital art and preparing to launch an online shop with art prints, stickers, and more.

Anum Shaikh, a Pakistani-American artist in her mid-twenties, graduated from the University of Central Florida with a unique artistic style that blends her academic background with her cultural heritage. Her vibrant paintings reflect the duality of her identity, combining traditional elements with modern American influences. Driven by a passion for women's rights and social justice, Anum's artwork conveys powerful stories that encourage viewers to reflect on important issues. Her art inspires and advocates for change while challenging societal norms.

Chanelle Lana Hoshnic, a contemporary artist from Arizona, is known for her abstract paintings that explores deep into human emotion and experiences. Born into a vibrant upbringing, her passion for color, form, and expression ignited her artistic journey. Drawing from fine arts, her work features bold, expressive styles with vivid hues and dynamic brushstrokes, which captive the viewer’s imagination.

Aiman Shaikh is a 22 year old emerging artist whose vibrant creations captivate audiences with their emotional depth and originality. Aiman's artistic journey began as a means of self-expression and exploration of the human experience. Standing out from her peers motivated her to focus and contemplate on the depths of being different. Through her dynamic use of color, texture, and symbolism, Aiman invites viewers to introspect, ponder life's complexities and beauty through their personal perspectives of her art. Whether through collaborations, community projects, or advocacy, Aiman makes art as a catalyst for awareness, change and connection.

Waheeda Shaikh was born and raised in India and Oman. She lives in Orlando with her husband and two children. After graduating with a degree in English Literature and another in Education, she now teaches ESL at a local college working with adults who have recently emigrated to the United States. 

She started painting during Covid and does mainly abstract art, glass painting, calligraphy and gold leaf work. Her instagram is #gildedartistry. 

Ayesha Shaikh, a Pakistani-American artist, has been painting since she was a young child.  Balancing the roles of wife, mother to four children, and devoted artist, Ayesha infuses her work with the rich tapestry of her Pakistani heritage and the dynamic spirit of her American experience. Ayesha's work reflects her Pakistani heritage and her American experiences. Each painting adds to the story of her life and her journey as an artist. She inspires her children to be artists as well.

Leandra Goertzen, an ASU student working towards a Bachelor's Degree in English Linguistics, is a graduate of Pratt Institute with an Associates in Illustration.

Steve Shear was previously represented by the Z-Wolf Gallery in Denver, Colorado and The Boulder Art Gallery in Boulder, Colorado as well as galleries in Tucson, Arizona and Brentwood, California. Much of his work can be viewed at www.steveshear.net. He spent five years painting under the watchful eyes of Jean Packard, a graduate of the Chicago Art Institute, two summers at the Charles Cecil Art Studio in Florence, Italy, and several years at the Boulder Art Academy in Boulder, Colorado. He also trained in sculpting under Valentin Okorokov. All in all, he has been painting since 1986. In 2013 he began writing, first poetry then novels, screenplays, and stage plays. Six of his novels and two stage plays have been published.