/THE TWENTY-FIRST ARTSWORCESTER BIENNIAL
in partnership with the Worcester Art Museum
ArtsWorcester Main Galleries
Public reception: Friday, May 9, 6:00 PM - 9:00 PM
Exhibition run: May 8 - June 29, 2025
Since 1985, the ArtsWorcester Biennial has shown some of the region’s best contemporary visual art. The tradition continues in 2025 with the Twenty-First ArtsWorcester Biennial, juried by Francine Weiss, Ph.D., independent curator and arts consultant.
The winner of the exhibition's top honor, the Sally Bishop Prize, will receive a $1,000 award and a solo exhibition at the Worcester Art Museum during their 2026-27 season. The recipient will be announced at the public reception on Friday, May 9. Additional honors will also be announced at the event, including the Evelyn Claywell Absher Award for Abstract Art, the Ruth Susan Westheimer Prize for Fine Craft, and a one-time award for a work on paper, in memory of beloved local artist Jackie Ross.
Ricardo Barros
Jennifer L. Jones at her piano. Photographed at The Yarnworks, July 26, 2024
photograph
20″ x 24″
2024
My goal is to project a positive, attractive image of Fitchburg to the surrounding region through the portraiture of individuals who have contributed to or are participating in the city’s revitalization.
ricardobarros.com
Ricardo Barros
Peter Capodagli rides an Iver Johnson 1932 Truss Frame Roadster past Iver Johnson’s Victorian home in Fitchburg. Photographed May 29, 2024
photograph
20″ x 24″
2024
My goal is to project a positive, attractive image of Fitchburg to the surrounding region through the portraiture of individuals who have contributed to or are participating in the city’s revitalization.
ricardobarros.com
Lisa Barthelson
random remix green, chaos, family debris
monoprint, with printed collage and thread on Rives BFK paper, grommets
35.5″ diameter
2025
random remix 4, chaos, family debris, is part of the extensive series of family debris monoprints. This piece is an amalgamation of monoprints created by layering small family debris items on inked printing plates. Remnants from multiple print sessions are combined with collage and hand stitching to create a visual dance, or pandemonium? Green is a color of hope and renewal, but the chaos of the composition reflects how my mind cannot settle as the world around me seems to be spinning out of control.
@liba_barthelson, /lisa.barthelson
Matthew Burgos
Blow Me
colored pencil drawings, K’nex, EL wiring, fabric
19″ x 26″ x 4″
2025
After creating many serious or precise artworks I need to make something absurd and humorous. Blow Me, continues with showcasing my love of all music, but now addresses not everyone shares the same taste. Its a very mature take, trust me. On a technical side, the project is one of my most ambitious wall sculptures, involving electronics and specialized construction.
@inkblotsandsnapshots
John Buron
Iron Clad
wood, acrylic paint, and monofilament
60″ x 30″ x 0.25″
2025
This exploded diagram mobile of a domestic appliance combined with the shackle and chains is alluding to the U.S. history of servitude on multiple levels.
@jburon
Amy Byron
A Fish Called Wander
watercolor, ink, and graphite on paper
12″ x 16″
2024
My work explores the concept of puns through visual representation, focusing on species native to Massachusetts waterways. This piece juxtaposes a sunfish (a fish often associated with sunbathing) with an un-painted turtle. The perch, on a literal stand, further emphasizes the linguistic game. These species are commonly found in Massachusetts. Through these whimsical depictions, I aim to evoke a sense of lightheartedness and encourage viewers to consider the unexpected connections between language and imagery.
@aimy77
Amy Byron
One Man’s Trash
ink, graphite, acrylic paint, and plastic bag on paper
20.5″ x 26″
2024
Not For Sale
This piece is born from the land it depicts. Created entirely from found trash gathered on local conservation trails, it aims to highlight the beauty and fragility of our natural spaces. The birds, rendered from repurposed plastic cups, stand as a testament to the resilience of nature and a call to mindful stewardship. Each scrap, a reminder of human impact, is transformed into an image of harmony, urging us to see the potential for beauty within our discarded remnants.
@aimy77
Mary Calkins
Rooms of the Heart
Juror’s Prize
charcoal on paper
48” x 36”
2023
Not For Sale
After the loss of my father who I cared for during his last 12 years, and the sudden death of a very close friend soon after, I was filled with a sense of gridlock in my heart- a mental and emotional paralysis. I built walls around my heart to protect it. It felt like a chasm running through me- a huge fissure filled with raw emotion and sorrow. My life felt empty, ragged and spent.
Jennie Cao
Dysmorphia
acrylic painting and copic markers on canvas
20″ x 20″
2023
Dysmorphia visualizes my struggle with body dysmorphia growing up in a predominantly white suburb, where my body was subject to both ridicule and fetishization. Asian bodies and features are both desirable and ostracized in American society. This piece grotesquely twists, prods, and harms the body while it’s displayed in a submissive, vulnerable pose, confronting the viewer with the effects of fetishization both mentally and physically.
@meisuicha
Shawn Carlin
We Come in Peace!
mixed media diorama
17″ x 8″ x 8″
2022
Being a miniature artist allows me to create fantastic worlds based on my imagination but also my love of genres like Sci-fi! As a huge fan of retro science fiction, I wanted to create a scene out of those 50’s styled films with flying saucers, menacing creatures and bizarre alien landscapes! Here we see an Earthly spaceship being “greeted” by a UFO piloted by a not so friendly alien and needs to make a quick getaway before the lasers breach the rocket’s hull!
@oakhill_studios
Kailey Coppens
Choose to Believe
Winner of the Evelyn Claywell Absher Award for Abstract Art
wood, glass, acrylic paint, mat board, wire, and paper
39″ x 19″ x 2″
2025
In my art, I explore the connection between mass-produced items and home environments, creating sculptures from found materials. Having lived in over 16 homes in 27 years, I reflect on the spaces I’ve left behind. I’m drawn to the colors, patterns, and materials that persist as walls change, considering how objects are stored, used, and presented. I aim to spark a conversation about how we unconsciously curate our living spaces by reimagining the role of everyday household materials.
@_wuh_oh_
Kailey Coppens
Location, Location, Location
glass, particle board, acrylic paint, linen, and paper
11.5″ x 11.5″ x .75″
2023
In my art, I explore the connection between mass-produced items and home environments, creating sculptures from found materials. Having lived in over 16 homes in 27 years, I reflect on the spaces I’ve left behind. I’m drawn to the colors, patterns, and materials that persist as walls change, considering how objects are stored, used, and presented. I aim to spark a conversation about how we unconsciously curate our living spaces by reimagining the role of everyday household materials.
@_wuh_oh_
Heather Croteau
Dragonflies
pointillism in ink on Bristol paper
11″ x 14″
2024
@heathercroteaufineart
Helen Duncan
Shore Encounters
Winner of the Ruth Susan Westheimer Prize for Fine Craft
porcelain clay and wire
30″ x 30″ x 28″
2023
$2,600 (sold)
Shore Encounters is born from impressions lingering in the wake of summer strolls along beaches and country roads. Inspired by the intricate forms and movements of jellyfish and the graceful sway of wind-blown wildflowers. Each component of the sculpture is carefully balanced and dependent on the others, mirroring the fragile interconnected ecosystems present in our oceans and terrain.
@helenduncanart
James Dye
So Bound is Creation by the Cry of Trumpets
dip pen and India ink
39″ x 32″
2022
Not For Sale
Yorgos Efthymiadis
Mirsin A. / Roses
Winner of the Jackie Ross Prize for Work on Paper
photography
22″ x 32″
2024
Whenever I travel back to my country, there is an instant rush of fond memories of the house I grew up in by the sea and of the maze-like city I moved to when I got older. But mostly, of family and friends: the people that I care for and who have always been there for me, the ones I take for granted. Each struggling in their own way. Loneliness, isolation, decline. Secrets and regrets. But each one like a lighthouse keeper. Strong and resilient, fragile and tender, guiding each other through life, and reminding me of where I belong.
@yorgosphoto
Madge Evers
Burns Blue
mushroom spores, cyanotype, gesso on paper
24″ x 24″
2024
The foundation of this work on paper is a botanical photogram, rendered in cyanotype, the alternative photographic process used by botanist Anna Atkins in 1843 to make the first, ever, photographic book. Over the cyanotype, I add gesso and, in a collaboration with fungi, the bioluminescent spores of the Jack O’Lantern mushroom (Omphalotus illudens). The image depicts native New England ferns (Paratherlypteris simulata) and the opportunistic Dandelion (Taraxacum officinale) and Gooseneck Loosestrife (Lysimachia clethroides), plants that alter flora and ecosystems not with malice, but to seek the light.
@_sporeplay
Zachary Faugno-Teig
Alackaday
acrylic painting and oil pastel on canvas
30″ x 40″
2024
$1,000 (sold)
zackft.art
Barbara Fletcher
Monster Tsunami
mixed media, printed paper, paper clay, paper construction
28″ x 32″ x 21″
2020
The inspiration for this sculpture came from a rescued cardboard box that resembled a pagoda. I am a story teller and wove a whole narration around the pagoda using a dark satiric climate change theme.
@barbara_fletcher_sculptor
Lynne Galluzzo
Harem
colored pencil
29” x 29”
2025
When I make art, I am powerful. I take apart and reassemble nature
Paul Hackett
Surge
paper, wooden reed, acrylic paint on wood board
16″ x 16″ x 8.5″
2024
Surge is a three-dimensional wet-folded paper form supported by bent, curvilinear wooden reeds mounted to a wooden board. The composition was arranged to express the idea of ‘Surge,’ with noticeable references to water and wind. Moreover, the form is designed to visually express how ideas form and how opinions coalesce.
@properhack
Irene Hastings
Bus Yard
oil on panel
20″ x 24″
2023
This work comes from my inclination to look for beauty in places and things that may be considered ugly or dirty or both. This bus yard made me feel hope and pride.
@hastings_studio
Maureen Hebert
Will O’Wisp 11:16pm
gel print with thread, roving, felt on BFK Rives
5″ x 5″
2025
@mkhebert
Steve Imrich
CLOUD 27 IAH
Juror’s Prize
oil on linen
60″ x 36″
2024
CLOUD 27 IAH is part of a series of twenty eight context impressions for a developing storm soon to unleash its energy on approach to Houston International Airport (IAH). With extreme weather growing more common, the Houston experience provided a place for me to suspend and contemplate elements of human development in the battle with nature. Vivid memories of weather situations as a pilot have stayed with me over years and the oversight provided by aerial vantage has influenced much of my work as a painter.
steveimrich.com @steveimrich
Barbara Ishikura
Birdbath
acrylic and oil on canvas
60″ x 48″
2025
Not For Sale
This painting captures a moment of everyday life, blending the beauty of the ordinary with the complexity of social identity. A young woman sits on plastic lawn furniture, embodying both beauty and simplicity, while a dog pees on a birdbath. The scene is quintessentially working-class: Dunkin’ Donuts coffee and a donut sit on the table, as birds play in the bath. This juxtaposition of high and low culture mirrors my own life—shaped by a working-class upbringing and a later immersion in more privileged, multicultural environments. The piece explores the tension between social class, taste, and the contradictions inherent in both.
@barbara.ishikura
Adam Johnson
… goin’ on outside, no man is…
gold, oil, acrylic, mirror on canvas in concrete frame
31″ x 33″
2022
Not For Sale
@neroandnew
Mica Knapp
Pascal’s Thoughts 1
mixed media on paper
28” x 25”
2024
At the end of his life Blaise Pascal, the 16th century French philosopher and scientist, was working on what would become his best known book, Pensees or Thoughts. After his death, the manuscript was discovered written on scraps of paper strung together by pieces of string. This compelling image stayed with me and wouldn’t let me go eventually leading to the making of two drawings in which pieces of rice paper connected by thread are suspended from the surface.
Nilima Kolli
Shinrin-yoku (“Forest bathing”)
hand-cut paper
8″ x 12″
2024
Not For Sale
This work pays homage to the Japanese concept of Shinrin-yoku or forest bathing, which involves mindful immersion of oneself in nature.
@mypalette /nilimakolli
Nilima Kolli
Tenacity
hand-cut paper
11″ x 14″
2024
Not For Sale
Summitting is the most demanding yet extremely rewarding. This hand-cut paper of my hike up one of the presidential mountains in NH reflects my feelings of exhaustion, exhilaration and finally humility.
@mypalette /nilimakolli
John Loughlin
Baby Snakes
oil on canvas
36″ × 48″
2023
Not For Sale
Portraits and perceptions.
@behe_renow
Ashley MacLure
Moonstruck
Juror’s Prize
layered tunnel book, ink on paper
8″ x 10″
2024
My daughter, solemn and young, stands in the forest beneath a full moon. Beside her are the figures of cherished companions and guardians: the spirit of our departed dog, our aging black cat, and my long-gone rabbit—together, they symbolize her first encounter with loss. In confronting the passage of time, I carry not only the love for what has been lost but also a steadfast dedication to fostering my daughter’s resilience amidst quiet sorrow.
@ashley.maclure
Caitlin McDonough
Portrait of a Young Girl
acrylic paint on canvas
40″ x 30″
2024
Not For Sale
I painted this portrait of my daughter based off a photograph I took of her sitting in our home. This expressionist portrait captures both her maturity and youth, contrasting her thoughtful and pensive stare with a playfully bold and saturated color palate.
@caitemcdonoughart
Nina Medard
Oceanic
mixed media
37.25″ x 29.5″
2023
Oceanic is part of a mixed media series rooted in automatism—a process of creative freedom and release. I begin by allowing marks to emerge organically, guided by intuition, until narratives reveal themselves. In this piece, I explored the concept of infinite supply and ever-flowing boundlessness. From there, I followed the unfolding patterns, seeking to express the deep interconnectedness that runs through all things.
@caitemcdonoughart
Gretchen Neff Lambert
Group of Heads
graphite and acrylic on paper, foam board, acrylic matte medium
57″ x 50″
2025
Not For Sale
My work explores the human experience as it relates to sentience, identity, gender performance, and physical comfort/discomfort. In this piece, I explored my interest in body horror, facial expression, and skin. I wanted to create a modular piece where these “heads” could be swapped in and out, moved around, etc., almost like little microorganisms in a petri dish.
@gretchen_neff_lambert_art
Nick Ortoleva
Mom and I, Outside Hyeopsaengmun Gate, Gyeongbokgung Palace
archival inkjet print
12″ x 16″ x 3″
2006-2024
Not For Sale
On a separate trip from my own, Mom took photographs that she kept in an album, to show Thomas and I what our birthplace looked like. They sat in the album for almost two decades before I used them to guide me around on my return to Seoul. It brought me a familiar feeling in a new place, knowing she stood on the same ground and breathed the same air.
@nickortoleva
K.F. Otis
La Petite Mort
Honorable Mention
performance video art with sound (click here to watch)
0:02:00
2025
Not For Sale
La Petite Mort is a performance piece on the stigmatization of the female orgasm. It opens with a sprawling spectacle, offering viewers time to cautiously move around the space. Easing in, deep exhales begin to inflate a central white balloon while two others appear; moving up and down at different speeds, they represent how the brain processes sexual pleasure. When all three finally align there is a loss of control in the center that leads to the sudden disappearance of the balloons, and an explosive release of white liquid. Viewers are left seeing spots and a mischievous smile.
@theartoffarting
Sheila Papetti
“Who am I? And why am I here?”
machine-sewn paper coat crafted from large-format prints of NOIRLab celestial images
51″ x 33″
2025
Not For Sale
“Who am I? And why am I here?” is a paper sculpture created in honor of my Yakut Russian ancestry. Inspired by a woman’s coat, it blends cultural and modern elements, symbolizing warmth, protection, and resilience. The use of paper reflects the fragile, temporary nature of life. Printed images explore themes from astrology and astronomy, offering a view of our connection to the cosmos. This piece encourages viewers to reflect on identity and our shared bond with the universe, fostering empathy and unity. Through this work, I hope to create a space that strengthens community and interconnectedness.
Melissa Parent
Night Bird
mixed media collage, gold leaf, geli-print, fibers
40″ x 24″
2025
@mparent_art
Kara Patrowicz
Womb Portrait
Winner of the Sally Bishop Prize
wool felting and embroidery
15″ x 16″
2024
Not For Sale
“Womb Portrait” is part of a series of felted artworks loosely based on ultrasounds of my three children. I’m astonished by the image quality of contemporary 3-D ultrasound technology. I’ve been thinking about these views into my womb, my child’s body being knit, woven, stitched together in “the secret place.” Imagining the intermingled and layered muscle and tissue, and conveying bodily forms that might seem grotesque with soft, touchable materials like wool.
@kara.patrowicz
Kristin Petrillo
Double Burn
acrylic on canvas
38″ x 36″
2024
$2,400 (sold)
This diptych captures a hidden view behind one of Worcester’s many historic industrial buildings. The captivating play of light in these spaces transforms what many consider ugly into something beautiful and evocative.
@kristinpetrillo
Amanda Pickler
Lesbian is Not a Dirty Word
oil on canvas
22.25″ x 32.25″
2022
In this piece I am capturing a soft moment between my friend and her partner. This piece is part of a larger body of work where I depict the every day intimacy in lesbian relationships as a way of normalizing a queer experience.
@pickler_art
Amanda Pickler
Maria at Ginger’s, Brooklyn, NY
Second Place Prize
oil on canvas board
18″ x 24″
2024
This piece is part of larger body of work where I have been visiting the different lesbian bars in the country. I engage in conversations around why these spaces are important to each individual I meet, and then ask for consent to paint them.
@pickler_art
Pamela Redick
October Rain
acrylic on wood
20″ x 20″
2025
Colors are more vivid on a rainy day. Not everyday is a great one for hiking or getting out in nature. Go out anyway. The landscape evokes a certain moodiness, a different beauty, a day that you might want to remember.
Suzanne Révy
Path to Greenough Land from the series “A Murmur in the Trees”
archival pigment print
15″ x 46″ x 1.5″
2020
Multiple-panel presentations create dialogs between space and form, imply passages of time and create arresting visual stutters. I have discovered surprising patterns and details of the landscape in overlapping frames that echo with history, literary myth and personal memory. I look for figurative gestures in the trees or streams and in the man-made imprints left upon the land. I wish to impart a tenor of solitude that conveys a reverence for the fragile and enduring ecosystems that surround us, and to draw parallels between the cycles of nature and the arc of human history.
@suzannerevystudio
Robin Reynolds
Fanfare & Coattails
vintage fabrics, wallpaper, gardening magazines, catalogs, and children’s books, antique lace, yarn, linocuts, acrylic paint
18” x 18”
2024
I create “painted collages” inspired by my backyard garden using vintage gardening encyclopedias, linocut prints, antique lace and fabric, and a wide range of alternative mixed media. My process is improvisational, slowly building the collage surface by cutting, piecing, and layering diverse materials and manipulating varied mark-making. I construct complex works on paper that provide intricate texture, line, and color up close, and form, depth, and space from afar. My collages also take part in the feminist art form of femmage. I reclaim found materials from traditionally “women’s work”—knitting, needlework, gardening, being a mother—and use it for fine art.
@Robinreynolds7259
Sophia Rodriguez
fetal position
hand-tufted yarn rug
16” x 31”
2025
Before our immersion into the world, we begin in this position, and throughout our lives, we find ourselves crawling back into this comfort.
@sophiasayian
Meg Rogers Eldredge
In the Wild
Honorable Mention
acrylic on canvas with tufted yarn, crochet, nail foil, glass gems, and the intuition of the ages
27” x 50” x 2”
2025
After years of doing my absolute best to heal while still holding on to pain, I’m finding myself now on what feels like a fast track to joy. It’s so weird. It’s so strange and so wonderful to feel more joy than sorrow these days- but I’ll take it! I’m lapping it up and trusting that it is, in fact, real. “In the wild” is me as I walk through the world, with clearer lenses in my eyes, covered with a little moss and fur as I find wonder if the world around me.
@megrogersmakes
Stacy Savage
Impact
welded laser cut steel
68″ x 44″ x 18″
2021
Not For Sale
This sculpture is a figure/woman who is fracturing and dissolving while holding its core intact.
@savagemake, stacylattsavage.com
Leslie Schomp
Shroud for the Hunted
cotton organdie appliqué, cutwork, embroidery on various tulle and netting
67″ x 38″ x 0.5″
2025
Not For Sale
I am using qualities of the lace aesthetic in history such as: ambiguous, ghostly, needing careful preservation, vulnerable, ceremonious, provocative, and fragile, to examine documents or relationships that feel unsteady or need preservation. This piece is both an object and an image and references the historic use of lace in ritual and ceremony. It is part of a body of work that explores the possibility to embed and document the darker stories and content of contemporary society, such as climate change, politics, violence and sexuality in the delicate aesthetic of the lace tradition.
http://www.leslieschomp.com @leslieschomp
Emily Shedlock
Let Me Live Before I Die (Sam)
acrylic on canvas
30″ x 24″ x 1.5″
2025
At first glance, the two women appear to be in a typical hair salon. However, upon closer look, you’ll find that surgical scissors replace what would be hair shears, a Polaroid strip features a sonogram and the cord of a hair straightener looks eerily similar to an umbilical cord. As reproductive rights are currently under attack in our country, there is an immediate need for alternative ways of communication between those who are most vulnerable. Using symbolism and allegory, Shedlock creates an alternative realm where we can expose our true selves without the fear of interrogation, shame, or harm.
@emily_shedlock
Jeanette Staley
Lamentations, 98%
collage pages, acrylic, compressed charcoal, black and white, colored pencil
48″ x 36″ x 2″
2025
The most recent paintings in the series Predators and Pray explore specific Old Testament Books from the Bible and Science. The Book of Lamentations acknowledges the reality of pain and the expressions of grief, including guilt and forgiveness. Pages from the ancient book are juxtaposed with anthropology text. We share more than 98% of our DNA with the mountain gorilla, some of it the most genetically significant. Mountain gorillas of the Democratic Republic of the Congo are endangered due to the impact of humans; war and conflict, hunting and poaching, and habitat loss.
Michelle Stevens
Hilda & Rani
colored pencil and oil pastel drawing over ink monoprint
11.7″ x 16.5”
2024
Created of mother and daughter friends I made during a solo artist residency in Western Australia, early 2024. Rani is an artist as well, who I met through the arts center I was doing the residency through.
@michellestevensart
Michelle Stevens
rabbit rabbit
graphite on paper
19″ x 16″
2024
Said in the morning on the first day of the month for good luck, the title of this drawing, “rabbit rabbit”, is a reference to date it was finished in late autumn. Here in New England, the seasons are important markers of change to usher in rituals and the next phase of life. The far left outlined figure and hand coming over the central subject represent a higher self, or amalgamation of ancestors looking over the subject. Like the seasons, they are guiding the central figure into their next step.
@michellestevensart
Kaz Supernova
The Final Movement (Lee Morgan)
0:04:11
2024
Not For Sale
“The Final Movement (Lee Morgan)” by artist Death Over Simplicity | Video by Kaz Supernova This song and music video chronicle the career trajectory of jazz musician Lee Morgan, culminating in his tragic end in 1972. While DOS artfully narrates the story through lyrics, the video features the rapper (portraying Lee) within classic Lee Morgan album covers. Additionally, the video is illustrated with vintage photos of Lee throughout the stages of his career. This video was featured in Worcester Magazine’s Best Music Videos of 2024.
@kaz_sn /kaz.sn1
Caron Tabb
The Father Have Eaten Sour Grapes and The Children’s Teeth Are Set On Edge (Ezekiel 18)
mixed media, fiber art
dimensions vary
2024
This piece reflects on the profound impact adult-made decisions have on children and future generations. Created in the wake of the horrors of October 7th, 2023, it serves as a poignant reminder of the lasting consequences of human choices, particularly on children anywhere and everywhere.
@carontabb
AmberRose Tortorelli
The Yellow Wallpaper
oil and mixed media on canvas
60″ x 48″
2024
“The Yellow Wallpaper” was inspired by the short story by Charolette Perkins Gilman. The main character’s descent into madness is driven in part by her physician husband who imposed the ‘rest cure’ on her. While confined to her room, the woman becomes infatuated with the wallpaper and convinces herself that there is the shadow of a woman behind the surface that she must free. The story served as a critique of medical professionals treatment of women’s mental health. “The Yellow Wallpaper was not intended to drive people crazy, but to save people from being driven crazy, and it worked”. -C.P.G.
@toiletfireart
Francis Warner
Into the Mist
oil on panel
30″ x 43″
2025
Nature, and my experience with it, is replete with inspiration for me. This painting is an interpretation of an early morning experience, where color became secondary to the multiple gradations of neutral tones. All grays in this image were generated using white and the three primaries instead of black.
Betty White
Table for Two
fine craft diorama/room box
15.5″ x 6.25″ x 7.75″
2025
Not For Sale
“Table for Two” is a fireside dining table diorama created inside an antique prune box. Aside from the box itself and found shells, the contents of the diorama are all made by hand using a variety of materials, including floral wire, masking tape, paper, oil stain, paint, clay, leather, metal, wood, foam core, and beads.
@inthebettywhitehouse
