ArtsWorcester at the Davis Art Gallery

November 16 through December 17, 2023

Reception: Friday, November 17, 6:00-9:00 PM /// Learn more.


All artwork tells a story, and this exhibition explores the myriad ways artists apply narrative to their practices. Page Turner features artist's books and works in new and traditional media that evoke familiar literary imagery or divulge personal stories. Artworks for Page Turner were selected by Susan Schmidt, Associate Professor Emerita of Visual Art at the College of the Holy Cross.



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ArtsWorcester exhibitions in the Davis Art Gallery take place courtesy of Davis Publications.



Susan Schmidt is an Associate Professor Emerita of Visual Art at College of the Holy Cross where she taught printmaking and artist's books. She is on the Board of The Boston Printmakers and a member of Brickbottom Artists Group, in Somerville, MA. Her work is exhibited throughout New England and she had a recent solo show in Cantor Gallery, College of the Holy Cross. Susan has been making artist's books for many years and always enjoys testing out new book forms. She is particularly interested in the collaborative possibilities inherent in making books. In 2022, Susan initiated a book collaboration between 10 artists and a Worcester poet. Working together over six months, the group collaboratively created The Edge of the Ocean, a limited edition artist's book of twelve copies, printed by hand.



/// EXPLORE Page Turner

View works below. For sales inquiries, please contact the galleries at sue@artsworcester.org or call (508) 755-5142.


Claudia Bauman, Address Book Art Journal


mixed media acrylic paint monoprints, napkin, collage, cardboard, 2019-2023, Not For Sale


This art journal is a very personal journey for me. I was exploring my strip collaging techniques and working to make statements with my work. I use so many materials that most people would throw away. The address book was a fantastic find. I love the size of the book. I’m very interested in aboriginal mark making and in the mark making of young children. I am not a trained artist, I just play. So this is just me talking to myself with paint, paper, scissors and glue.


Eugenie Lewalski Berg, Four and a Half


concrete, woodblock prints (mokuhanga), graphite, acrylic spray coating, 9.5" x 26" x 2", 2023, $1,650


Egyptian hieroglyphics, Southwestern petroglyphs, and pictographs…we know they tell stories, or make words, and communicate thoughts. Today, their meaning often alludes us. And then there is Asemic writing, with no meaning at all. Using symbols in these ways continues to intrigue me and has influenced my work over the years.


Thierry Borcy and Madge Evers, A New Way of Seeing: Mount Auburn Statuary


brown vegan leather cover, black end leaves, gold foil lettering, and 10 inkjet images printed on 100% cotton paper, 8" x 10", 2023, $400


A New Way of Seeing was created by photographer Thierry Borcy and visual artist Madge Evers while they were artist residents at Mount Auburn Cemetery in 2022-23. These images explore the cemetery’s statuary and monuments, not as static objects, but as ones of transformation. Thierry created photographs that Madge altered with the addition of plants and mushroom spores. Each image was then photographed again. Like plants and trees, human-created statuary need tending, are fragile, and subject to the passing of time, both physical and historical. Together with plants and mushroom spores, statuary is part of an ever-changing landscape.



Chelsea Bradway, I'm afraid I can't explain myself, sir. Because I'm not myself, you know

@officail.all.things.sparkley; Meta: All Things Sparkley

color photograph on fine art paper, 30" x 24", 2019, $575


As a child who was raised for most of my life without a television, I relied on books to be my escape.  Reading was an incredible way to set my imagination free to explore what was not real. Alice in Wonderland helped me grow into the creative person I am today.
After reading a chapter, I immersed myself in a dreamscape for hours in nature, only to come home to grab a PBJ and run back outside. From these childhood memories, I decided to start recreating my favorite books into photographic stories. Alice in Wonderland is just the beginning.


Lora Brueck, A Shadow Of Herself: Miscellaneous Words and Double Exposures

mixed media: double exposure photographic transfers, CitraSolv-tinted paper, photocopies, 6" x 10" closed, 6" x 60" open, 2022, $100


The text for this piece was inspired by the images, which are double exposure photographs, mainly of a religious nature. 


Laura White Carpenter, Access Denied (Urn for the Ashes of Banned Books)


ceramic and cork, 14" x 9" x 9", 2022, $695


All is lost when the ability to freely read and journey through literature is removed from our public libraries. This is a partial list from the American Library Association website of why books were banned from their shelves in 2022.  As you scan these rationales, I sincerely hope that you become as outraged as I am.



Aldona Casey, The Sailor Uncle: Illustrated

paper, card stock, thread, and lino prints, 4" x 5.5", 2023, $200


This book was a part of a fellowship I earned, which focused on children's illustration published around the eighteenth century. Using a story within Mary Lamb's book "Mrs. Leicester's School" (1809), I created six linoleum block prints, which amplify the themes within the book and contribute to the artistic culture of children’s illustration. I also formatted and sewed this book, making five handmade copies. With this project, I hoped to forefront female work while proving that children’s illustration has the potential to be just as meaningful and complex as any other medium.


Brad Chapman Bleau, Alphabet Book of Onomatopoeia


vintage address book, paint markers, colored pencil, 5" x 10" x 4", 2023, Not For Sale


I knew that I wanted to use this old address book I had found at a yard sale, and in turn, I knew I wanted to create some sort of alphabet book because of the format. Approaching the subject of book-making from an abstract perspective, the literary device onomatopoeia became the subject. Sounds were converted to visual language, and simple forms, color combinations, repetition, and movement became the tools to illustrate with. My experiences have given me unique associations with certain sounds, and I was interested in seeing how my interpretations aligned with others'.


Don Claude, dromo 002


photography, 8.5" x 11", 2023, $130


Informed by my heritage and cultural pride, and utilizing visual languages from Ghana, Italy, and America, my work makes the invisible visible. The word “dromo” means grace in Ga-Dangme, also known as the Ga language. The Ga language is one of the ways Ghanaians communicate with each other. The language isn’t largely popular, so it can be misunderstood as an “other” language. Dromo is a self-funded and independent zine publication for first-generation immigrants of African descent and independent artists. By seeing more, we change, and when we change, our space is altered. It becomes bigger, and we become more free.  


Christiane Corcelle, Suspended Stories


acrylic, vintage book pages, vintage book covers, 16" x 16", 2023, $1,100


I embrace the beauty of old book pages and weathered covers, breathed anew with acrylic paint. This series merges literature and art, reminding us that stories endure and creativity knows no bounds. Text and image meld, and the past finds vibrant expression in the present.


Linda Dagnello, Alone Together

oil on canvas, 24" x 18" unframed,  29" x 23" framed, 2008, $2,500


Nestled with a book, you escape from your own world, if only for a page or two. For the well-crafted author knows all your secrets—which words touch you, which words teach you. Like the best of friends, you become forever changed for the better by knowing them.


Alice Dillon, This Too Shall Pass


thread on duck canvas fabric, 7.5" x 10.25" unframed, 11" x 14" framed, 2022, $650 (sold)


"This Too Shall Pass" is from a series of pages ripped from an imaginary notebook of phrases suddenly adopted into mainstream vocabulary during the Covid-19 pandemic. Each phrase depicted has often been used to gloss over the devastating realities of the medical, social, and political upheavals that have characterized the past few years. The repetition of the text points to how often our leaders, politicians, and institutions say these words, whether or not they commit to the issues behind them.

The piece is made from duck canvas fabric, with machine-stitched notebook lines and hand-stitched lettering.


Kate Egnaczak, Mere Pond Laundry List


found plastic shopping bags from Elm Park mere ponds, found thread, 48” x 60”, 2023, $1,000


Laundry List is the first of its kind "litter-ature" documenting the pounds of trash I removed from Elm Park's mere ponds in 2019. Among the litter I call the park's dirty laundry, 165 single-use shopping bags emerged as the medium for this list. White and off-white bags were fused and sewn as the backdrop for the individually cut black plastic letters and tally marks that tell the story. The larger-than-life laundry list hung in the park for the summer of 2023 as an act of public storytelling where the audience could connect the content to the context of the park.


Madge Evers, Cleave


vintage negatives, cyanotype, acrylic, watercolor paper, tracing paper, book cloth, ribbon; accordion fold with hard cover front and back, 6" x 6" closed, 6" x 44" open, 2023, $400


This book uses vintage negatives of my grandfather and mother with pressed cleavers and hydrangeas to depict longings. Cleave is a contranym. Cleave can mean both “stick together” and “split apart” and is an apt word to describe the inherent tensions of life in a family, culture, or civilization. A person may be attached to one’s family or culture, but also, at times, and in certain instances, a person (or persons) may wish to separate, to split, or to divide from family or society. This desire for attachment and longing for separateness is one with which I am familiar.


Nathan Fiske, BB-140


metallic inkjet print, 40" x 26", 2022, $400


I am often asked to document books that will most likely never see the light of day again. I found myself studying the covers and bindings of these rare books, as they often appear to resemble aerial landscape photographs. I wanted to capture and present these unique details in a way that challenges perspectives.


Melody Fortier, We Are But Guests

digital photos, marbleized paper, pen and ink, mica shards, words, 6.75" x 5" closed, 6.75" x 16" open, 2023, $150


In my little book, We Are But Guests, I attempt to share a brief, universal story. The lone pathways, pictured in the photos are an invitation for viewers to contemplate their own personal journey on this earth. The pages and book covers are done in earth-toned marbleized paper, evoking wind, water, and terrain. The book covers are edged with shards of mica, transparent little sheets of mineral, forged eons before we ever existed.


Alana Garrigues, Woman: Undone (The Awakening)


monoprint cover; graphite, charcoal, ink, thread, mixed media, and zine inserts in altered book, 5.75" x 8.75" x 1.25", 2023, Not For Sale


Woman: Undone (The Awakening) is a multi-faceted mixed media project, distilling the words of Kate Chopin into small fragments of speech, poetic turns of phrase, and then taking those words and making them into something new. Experiential and experimental from the start, portraits of women and dreamy lines are designed to accompany curated phrases of a quiet, sovereign, at times discontented mind, while embroidery and monoprint harkening the late 19th century fancify the interior and exterior covers of the book, and words are reconfigured into modern poetry via zine. The book serves as a bridge across centuries, unearthing feminist threads.


Francine Gintoff, Claire

acrylic paint on vintage satin dress on wooden hanger, 30" x 20", 2021, $495


This dress is 1 of 60 other dresses. This series depicts one image on each dress to represent a particular person. This dress, called "Claire," refers to artist Grayson Perry’s alter-ego. His project “The Vanity of Small Differences” was based on William Hogarth's A Rake's Progress. I adapted the project into a book on a dress.


John Gintoff, Book Sculpture: Rogue

sculpture, 36" x 10" x 24", 2021, $2,800


Each "Book Sculpture" is a structure where the chosen book is the impetus and main structural base of that sculpture. Color and image choices evolve from the selected book on its use in that work.


Elizabeth Glixman, My Mother Had Dreams

collage: fabric, ribbons, glitter, markers, photos, 16" x 20", 2020-2022, Not For Sale

My mother was born in 1917. When I look at her childhood picture used in this collage, I wonder what her dreams were. Did she want to grow up and get married? I suspect she wanted that and more, like many women of her generation. Between the child and the grown woman, what happened? Culture? Obligations? Love? Economics? We are products of conditions and circumstances.


Samantha Hansen, Where The Pine Trees Are

@/tiktok: femmegremlin.art

mixed media collage, handmade book, 5.25" x 7.75", 2023, Not For Sale


This piece is about a pivotal moment in my mental health recovery. After a PTSD-fueled mental breakdown, my father and I drove to Arkansas--twenty-one hours together, just the two of us. We talked about the context of my breakdown, the trauma I experienced at the hands of my mother, and how her illness impacted us. It was exactly the conversation I needed to move forward. It gave me a new perspective, and I was finally able to start my healing journey. I was no longer afraid. I left that version of myself where the pine trees are.


Timothy, Johnson, Bookend 3

photograph (archival inkjet print), 14" x 14" unframed, 20 1/4" x 20 1/4" framed, 2023, $450 (sold)



Christopher King, A Color Palette of Woven Fabric


up-cycled tailoring fabric weft woven with multicolored, cotton warp, 24” x 9” x 6", 2022, $3,000


Using a four-harness loom and an alternating small/large element weft, specific warp colors are intentionally driven to the woven surface to influence the reader’s perception of the large element weft color. Gently twisted fabric strips, up-cycled from tailored pant hems, are arranged so the weft panels transition through the visible light spectrum over the twenty-eight pages of this book. This color study is bound with a complimentary cover fabric containing bellflower stems. Bamboo sticks are incorporated into each page to support the binding of the book. The pages are machine-sewn into the cover with polyester thread. Using a four-harness loom and an alternating small/large element weft, specific warp colors are intentionally driven to the woven surface to influence the reader’s perception of the large element weft color. Gently twisted fabric strips, up-cycled from tailored pant hems, are arranged so the weft panels transition through the visible light spectrum over the twenty-eight pages of this book. This color study is bound with a complimentary cover fabric containing bellflower stems. Bamboo sticks are incorporated into each page to support the binding of the book. The pages are machine-sewn into the cover with polyester thread. Raw material for this swatch book was generously supplied from the extensive tailoring scrap collection of Stevie Leigh.


Patricia King, Word House

folded paperback book with a string hanger, 6" x 6" x 6", 2023, $100


Word House is made from a paperback pocket dictionary. Since paper dictionaries are becoming obsolete, I repurposed this one.


Teresa Lamacchia, Fahrenheit 451

acrylic paint, digital photograph, mixed media printmaking and collage on canvas, 28" x 28", 2023, $1,000


We live in an era when an individual can object to a book in local classrooms, demand that the Board of Education remove it, and the book is then banned in that community. As the frequency of book banning across the country grows, I felt compelled to revisit a book that I've not read since high school, Ray Bradbury's Fahrenheit 451. In its dystopian society, firemen are charged with burning books and stamping out dangerous concepts. Quotes from the book and torn-up etchings and screen prints are collaged and roughly painted on four panels. Peering eyes watch over society.


Stevie Leigh, Frankenstein


upcycled denim and paper pages from the book Frankenstein by Mary Shelley, 34" x 28" x 6", 2023, $899


Much like Victor Frankenstein created his monster from pieces of various corpses, I created this jacket from pieces of various pairs of jeans. With these pieces, I brought life to the discarded. Patching together the upcycled denim with pages from the novel Frankenstein by Mary Shelley, I aim to show how everyone’s life story is made from pieces stitched together. In Frankenstein, Frankenstein’s monster notes the profound effects books had on his understanding of the world. My piece shows how the pieces we pick up, the words we consume, and the books we read define our lives.


B Lynch, Endless

@blynchstudioart; website: https://www.blynchart.com

mixed media including ink, cardboard, embroidery, wood and string, 9" x 7.5" x 1.75" closed, 9" x 14.5" open, 2018, $1,800


“Endless” is a book about the humbleness of work and the adage that it is never done. But it also asserts life needs food: for thought and to power ourselves. The worn exterior and white ink on black paper drawings reflect the homely themes.


B Lynch, Treasure More

@blynchstudioart; website: https://www.blynchart.com

mixed media including mink fur, embroidery, velvet, satin, and tassels , 14.5" x 11.5" x 2.5" closed, 14.5" x 24" open, 2018, $3,500


The materials that create the book “Treasure More” comment on the greedy. The book’s mink fur cover and velvet ruffles (the former mink coat was someone’s grandmother’s garment when I bought it in 1989 at a yard sale), elicits sensory luxury. The satin and brocade embroidery boldly state treasure and treachery are linked, and that more is more. They can never have too much.


Natalie MacKnight, A Sense of Wonder — “Rocks & Minerals” Book and “Curiosity Cabinet"


book: paper, fabric, slate, linen thread, binder’s board; cabinet: painted fabric, marbled paper, paste paper, handmade paper, antique glass slide, magnifying lens, UV-protective glass, LED lights, binders board, foam board, various adhesives, Sugru, magnets , book 4" x 5", cabinet 12.5" x 12.5" x 10.5", 2018; book revised 2013, Not For Sale


This two-part project begins with childhood memories of the Giant’s Causeway pictured in a children’s magazine, and Fingal’s Cave in a “Rocks and Minerals” textbook of my father’s. The story continues with a “fractured” fairy tale, facts/dates, and concludes with a sampling of artists inspired by these geologic wonders. ~ The narrative is accompanied by my own images along with antique engravings, vintage illustrations, and quotations by notables who have been awestruck by the sites. ~ The Curiosity Cabinet takes the viewer on a virtual experience of the Giant’s Causeway via a backlit slide and Fingal’s Cave via a diorama.


Ashley MacLure, In His Service 1


collage: home photos, altered Bible story, and cleaning product clippings on Bristol paper, 12" x 24", 2023, $300


This work is about the duality of my faith. I was raised to love and fear God. The people in my life who provided stability and love helped me survive a tumultuous upbringing. But the fear, despite being "saved by grace," means feeling we are never quite clean enough. Fear taught me to hate my body, my sexuality, intimacy, and womanhood.


Anne McNevin, "Each Unhappy Family Is Unhappy In Its Own Way"

photomontage, 23" x 28", 2022, $500


This is part of a body of work that visually narrates aspects of my family life, a visual memoir. After scanning letters, old and current photos, as well as my own descriptions of impactful events, I layer and manipulate them in Photoshop to create these pictures.


Parker Milgram, "I Live for the Sun" Book and "Sun Warms Fins" Concept Art


book: ink printed on 100gsm paper interior and 220gsm paper cover with gloss finish, glue adhering paper interior to cover. “Sun Warms Fins” concept art: acrylic, graphite, charcoal, wax crayon, and colored pencil on watercolor paper, Book: 8 x 10”; “Sun Warms Fins” Concept Art: 14" x 10” unframed, 18" x 14” framed, 2022-2023, $600


 “I Live for the Sun” is a 55-page picture book following an Adélie penguin’s struggle with grief and depression after losing his best friend. The story told through text and mixed media illustrations, is inspired by my lived experiences with depression.

All of my books start with loose ideas in the form of images, words, and intangible thoughts. “Sun Warms Fins” was one of my first attempts to visualize core concepts for “a book about a depressed penguin” before it was called “I Live for the Sun.”


Melissa Parent, Courrier du Cœur


mixed media with embroidery, acrylic, and collage, 18" x 24", 2023, $250


This work is a sentimental ode to words among friends overseas. A vintage post, recalling precious memories, appreciations, and a look at blended cultures and lives from a 20th-century perspective. As these are some of my own great-grandmother’s closest friends’ letters, the words felt deeper than I thought they would as I pasted them together to reveal a mix of almost the same universal emotion. Sentimentality is something I have always explored in my work, and now it means more.


Alyssa Pelletier, After Words


ink on paper, thread, book board, and book cloth , 9 3/8" x 7 3/4" , 2023, Not For Sale


In “After Words,” ten intricate papercut drawings are bound together to create a tunnel view of an illustrated world. This artist's book was inspired by the expansive (and often bittersweet) feeling that overcomes me when turning the last page of a gripping story. The round keyhole on the final page offers a duality: it is both this world’s illuminated moon and a passage to the book’s golden end page. 


Joanne Roach-Evans, Coralline Algae and Periwinkles

@jroachevans; /jroachevans,

watercolor on Arches cold press watercolor paper and printed soft cover book, 10" x 16" painting with 8.5" x 8.5" companion book of Seaweed, 2021, $2,300


This painting of coralline algae, Irish moss, and periwinkles was inspired by the work I did on a children's book of Seaweed. While painting the illustrations for the book, I was enamored by the beauty of the seaweed. This particular painting is based on the colorful tide pools I observed and photographed at York Beach in Maine as part of my research.


Jessica Sadlier, Bound Whispers


hand-bound book made of handmade papers, card stock, and machine-stitched pages, 6.5" x 5.25", 2023, $250


Donalyn Schofield, Gates of Hell

humidifier filters, branches, natural pods, fungi, nuts, 19" x 12" x 9", 2023, Not For Sale


“Humanity has opened the gates of hell,” said UN Secretary-General Antonio Guterres in September 2023. This piece includes other quotes from Al Gore and the New York Times. This year has been nasty weather-wise, and by the sounds of these sources, it is not going to get better. I want to enlighten the viewer, to make them think about the climate, the oceans, and our little planet. Mr. Guterres also said: "The Era of Global Warming has ended; the Era of Global Boiling has arrived.” Let's hope people can start making a difference.


Maia Simone, The Boulder



suminagashi paper, sketchbook paper, photo, graphite, ink, watercolor, and found items bound together with waxed thread, 7.4" x 5.4", 2023, Not For Sale


The Boulder' is an artist's book that explores childhood wonder and a self-perpetuated mythology about a personal landmark. The artist focuses on a large glacial erratic, or boulder, seated at the base of a field behind her house. This large rock served as a sacred space for the artist throughout her childhood and teenage years. This book immortalizes and examines the artist's memories of the boulder and includes various artworks and handwritten text inspired by that place.


Lyn Slade, First Reader


needle felting and ink, 15.5" x 12.5", 2023, $275


Combining my primary medium; needle felting, with other mediums, is my current obsession. For First Reader, I’ve illustrated ABCD with needle felted critters.

Learning to read did not come easily. In fact, as an adult, I started over with early readers. This piece is in memory of Betty, who recognized my dilemma and graciously helped me become someone who actually read for pleasure.


Susan St. Maurice, Virginia Woolf, contained

hinged lid box book collage with text and photo from a vintage copy of Orlando, hand-marbled corrugated cardboard, 5-1/2” x 4” x 1”, 2022, Not For Sale


Inside a mysterious darksome box-book, Woolf’s prose, in disconnected cuts, awaits. Her novel Orlando is a trove of texts for collage and assemblage. There is not a page that doesn’t demand that you stop, reread, or dog-ear the page. Like her main character, Virginia Woolf is a solitary traveler, fluid, out of time, out of place, present, and waiting. She always surprises me.


Stephanie Stigliano, Apologies to Edward Gorey

@ stephaniestigliano

tunnel style book: photocopy and watercolor paper , 5.75” x 8” x .5”, 2022, $300


Edward Gorey is one of my favorite artists. I was on my way to teach at Castle Hill Center for the Arts in Truro and passed through Yarmouth, where his house has been turned into a delightful museum. I was inspired to make this book after my visit. The book also served as a sample for my students, as an alternative approach to a tunnel book. The structure is usually bound on both sides. This creates the same diorama effect, but the pages can be turned and seen from both sides.


Stephanie Stigliano, Perpetual Motion dos-à-dos (with fish and spirals)

@ stephaniestigliano

gelli-prints and linocuts, cut paper, Sumi ink, 8.5” x 5.5” x.25”, 2022, $300


The Dos-à-Dos structure is combined with a pamphlet binding in this book that I made as a sample for my students. The technique is simple. The form inspired students to create a cyclical story or a story that has two points of view. Here, I added easily constructed pop-ups to build a more complex physical space between the pages. I started with linocut proofs (test prints) and then added elements until an idea took shape. Books with many parts often need a lot of planning but it can be fun to build a book like this, from the inside out.


Karen Stokke, Secret Garden Reverie

deconstructed found books, glue, string, ribbon, vintage brooch and buttons, plastic hair comb, broken necklace pendant, metal keys, plastic succulents, silverplate tray, 15" x 9.5", 2023, Not For Sale


One of the most memorable discoveries from my childhood occurred the day I ventured into the “big kids” section of our elementary school’s small library. A faded red volume with a rose bush embossed on it in gold caught my eye from the bottom shelf. Although it was longer than any book I had yet read, I took it home. The Secret Garden by Frances Hodgson Burnett became an immediate favorite, and its themes of discovery and transformation still resonate with me. This assemblage, which gives new life to neglected objects, is my homage to that beloved childhood classic.


Cathy Taylor, Blood Sisters


ink jet print, 19" x 4" open, 2023, $100


Blood Sisters' was created as I worked on a poem with that same title and later became the inspiration for the cover of a book of poems under the title BLOOD SISTERS.

A knick of a knife
Drew blood on the tip of one girl’s finger
And then the other,
So both had
Scarlet pools at the tips
Pressed together
Meant blood sisters for life,
An act of intimacy remembered always.

It is so important to acknowledge women and their contributions to the world including giving birth to the next generation and being crones of wisdom for today and tomorrow.


Ian Trask, Strange Histories: A Bizarre Collaboration

@ian_trask; @strangehistories

11" x 12" x .5" , 2018, $65

Strange Histories is a self-published collaborative artist book which presents a series of photographic collages (made by artist Ian Trask) alongside ekphrastic writing (fiction, poetry, and non-fiction) from 29 different contributing writers. The collages were made by combining found 35mm slide photographs donated by Trask's community. In the words of Brandon Kaplan, a contributor who also wrote the book's foreward: "...while Strange Histories is a collaborative work in words and images on the page, it is no less a multi-dimensional work of sculpture elaborately structured from the connections between people, their ideas, and their creative potential."


Francis Warner, All That Glitters

watercolor, 19" x 23", 2023, Not For Sale

This painting was created for my daughter who requested a painting with a quote from the "Lord of the Rings," one of our favorite stories. "All that glitters is not gold" is a metaphor and symbol for the many things that may attract us and/or distract us in life.


Jill Watts, Water Street


Ampersand board, photographs, collage, crayon, oil paint, Yes paste, marker, 9" x 12", 2023, $800


This work represents a possible page in a book based on poetry of place begun as a workshop celebrating places in Worcester. As I walked the area, I was flooded with memories and images of the past noting, the changes as I went.


Ursula Zia, Codex Root Kinetics


artist book, printed found materials on paper using plexiglass, biomatter (leaves, grass petals), receipts, letterpress, text (original poetry), 10 3/8" x 7 1/4" x 3/4", 2023, Not For Sale


Codex Root Kinetics is a book bound of a series of monotype prints and collaged original poetry to consider radical abstraction as it plays a role in a person's a sense of world and identity. In these pages, landscape and body can be thought of as a complex and fluctuating relationship influenced by both an internal and external experience. With Root Kinetics, concepts of self, world, and others collide as varying forces of motion that questions an echo of diaspora upon a person’s home, mixed racial identity, and gender-nonconformity in abstract space.

For sales inquiries, please contact the galleries at sue@artsworcester.org or call (508) 755-5142.