A colorful assemblages of breastplates, printing templates, miniatures and a mobile invites guests into the gallery, which is located on Boston Harbor's waterfront.  

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The sculptures and monotypes I created for this exhibition share two stories of human awareness. First, physical awareness, such as what we all feel via our skin when someone touches us gently. Second, is the bliss that we feel when our feet are grounded like roots in nature and we connect to the realm above.

The Blue, Red, Silver and Gold breastplates are mythological skins brought forward in time to protect its wearer.

The contemporary artifact recognizes the endeavors and strength of young women.

Who wears a 'visible' breastplate?

Wonder Woman, of course. Joan of Arc. Nike and Athena. Brienne of Tarth and Cersei from Game of Thrones.

Those who wear invisible breastplates are many.

The alcove installation is a homage to emptiness--because when we are empty we are are actually full, filled with awareness and can fly.

Just about every piece of art in this exhibit originated inside these plaster pods.

I made these monotypes while working as a visiting artist at Mass MoCA. The figurative work invites the viewer to see the body as if it were nestled inside a garment or under a sheet, changeable and tucked inside something other than itself.

The life-sized work feels as if you might have pressed your own self into colors.

I see a face within the monotype. I see sleep. Time. Heavy blankets. Love. Sex. Dreaming. Drifting. Flying.

My mother, a Beauty Queen with dark curly hair and green eyes, resembled Elizabeth Taylor. She was 20 when I was born, and I was 3 or 4 when we were in that swimming pool stall together. I reached up to touch her still cool and wet belly as she pulled off her white bathing suit. How wonderful, I thought, to be a grown up and to be so beautiful.

These bathing suits are for our mothers.

Kellerman was not only one of the first celebrity swimmers, but also one of the first women to wear a one-piece bathing costume (c. 1900), instead of the then-accepted pantaloons.

The 1964 photos of the woman in a monokini, in Life Magazine created quite a shock. The timing was on target for Gernreich, the designer, who wanted to reduce the stigma of the naked body in order to “cure our society of its sex hang up.”

A precious-sized devotion to carnal pleasure.

Each tablet in this standing mobile was made by pressing layered paper saturated with hardening agents against huge cannonballs, weapons that were fired from ships during the 1480 Ottoman invasion of Otranto, Italy.

More intimately, I have pressed my skin against the chests of uncles and father, grandfathers, lovers, and childhood friends. They held me against their bare chests in summer heat; so close the smell of their sweat stuck to my body. Those beautiful experiences are stored in memory as safe spots.

That's why I made this mobile. I look at it every day. It's hanging in my studio.

All of the men I honor in this mobile fought in wars-- World War I, n World War II, Korea, Viet Nam, Desert Storm, Iraq. The men shared tenderness as they hugged me so that we could reinforce trust in humanity, and they could transcend the horrors of what they had seen.