THERESA AURICCHIO
Nicho of Light
mixed media, ~10x8, $4,000
This multimedia retablo is a tribute after my mother’s passing. At the center, she holds an image of herself at 19—the way she still saw herself—surrounded by the objects and memories that shaped her life: family, religious relics, and a sculpture she donated to the church. Below, an empty brain symbolizes the torment of dementia, while above, a small light marks her path to peace.Caring for my parents while creating art became my way of processing the impossible—to care for, to remember, and to let go. Art allowed me to study them, honor their lives as they unraveled, and bear witness to their journey. It became my means of keeping my sanity and making sense of love, loss, and the passage of time.imedia retablo is a tribute after my mother’s passing. At the center, she holds an image of herself at 19—the way she still saw herself—surrounded by the objects and memories that shaped her life: family, religious relics, and a sculpture she donated to the church. Below, an empty brain symbolizes the torment of dementia, while above, a small light marks her path to peace.
Caring for my parents while creating art became my way of processing the impossible—to care for, to remember, and to let go. Art allowed me to study them, honor their lives as they unraveled, and bear witness to their journey. It became my means of keeping my sanity and making sense of love, loss, and the passage of time.
http://www.instagram.com/titigiallo
Maya Bao
In the Fold of Time
Watercolor on paper, 10x15 inches, $600
Captures the fluid transformation of motherhood through layered transparency and gestural strokes. Blending abstraction and form, the painting evokes the tension between strength and surrender, chaos and serenity in this early stage of motherhood. The flowing hues symbolize the unseen forces shaping both mother and child, reflecting the timeless, ever-evolving nature of parenthood.
http://www.instagram.com/titigiallo
LYNN BEHRENDT
Australia
18”x24”(frame size) limited edition linocut print titled
I started making linocut carvings and prints in 2021, as a way to help me heal from a seemingly intractable case of Covid. I had previously been making digital paintings full of color, but during my 6-7 month long recovery I found that looking at a computer screen, as well as vivid colors, nauseated me. I was grateful to find a medium that required numerous hours of quietly focusing on the tedious act of carving. Also, looking back, I believe that two additional aspects of the media were, in some mysterious way, incredibly helpful in healing my fuzzily functioning brain (which, at the time, felt as if it was swollen and had been split into two left/right chunks in my skull). These two healing aspects were: 1) the duality and simplicity of black and white, in combination with 2) how the image on the physical carved surface becomes its mirror opposite when printed. I’ve continued to make linocuts long after that challenging period in my life, yet the imagery or subject matter remains dreamlike, in that seemingly disparate yet resonant images bubble up in my mind, and then recur in later linocuts. Images of family and pregnancy often recur.
Lynnbehrendtdesigns.com Instagram
@Lynn.behrendt
LYNN BEHRENDT
Cherished
12”x12” limited edition linocut print titled
Lynnbehrendtdesigns.com Instagram
@Lynn.behrendt
LYNN BEHRENDT
Conception
18”x24”(frame size) limited edition linocut
SHANNON CLEERE
Invisible Hand
Screen print with household dust and glue on paper; 11x14; $200
Invisible Hand explores the ceaseless demands of unpaid domestic labor and the complex dynamics within gender roles and societal norms. Domestic labor and caregiving are presented as inherently feminine work, innate and fitting to women physically and psychologically. Women are thus persuaded, even coerced, into believing that it is a natural and inevitable pursuit. Invisible Hand interrogates the vast inequities of domestic work and illustrates how the relentless pursuits of capitalist accumulation repeatedly exploit (mainly) women's bodies, labor, and emotional capabilities. Using vacuum bag debris as the primary material, I am interested in the friction created by elevating this otherwise disposable matter and making my invisible labor visible. By taking this debris, the byproduct of my work as a primary caregiver, and featuring it in my prints, I am drawing attention to the often overlooked, undervalued work of mothers, caregivers, and domestic workers.
www.shannoncleere.com; @shannon_cleere (insta)
ALEXANDRA DEVIN (XaN)
A Tempest in a (Tea)Cup
My journey through motherhood thus far has been tempestuous, ranging from joy to anger to despair to hope. My child and I have traversed a global pandemic and honed in on numerous neurodivergent possibilities to reach the point at which we have arrived in this moment. My painting captures a moment in time and yet distills many moments into this collage of rupture and repair.
IG @xandevin.art
AIDAN SOFIA EARLE
Don't Worry You're Fine
Found objects, fabric, and thread, 20"x15"x3.5", $350
During the pandemic I found myself in a new city, without work (having been employed in the gallery/museum world), taking care of my two young children. I returned to my art practice, using what I had, finding time when I could.
Within the home ecosystem, as parents, we are constantly cleaning, curating, and making "safe", the objects of our lives and the lives of our children. The world became ever more intimate and compressed during the covid-19 epidemic. My studio became a playroom, the dishes piled up, and the anxieties mounted. But we found joy in simple actions and connections- in stitching, in finger paints and in saying out loud our worries. I began a list of empty platitudes "don't worry you're fine" "everything will be ok" "it's not that bad", etc., and made artworks using found objects, thread and what I had. I was thinking about these statements and the attempts we all tried to make at connection and healing.
instagram @aidansofiaearle
OXANA KOVALCHUK
Back to Family
Glass collage (flat sheets of glass, mixed media collage, printed on glass, transparency film, pencil, paint, wood frame, light panel), 15 x 20 x 3.5 in, 2021, $7,000.00
My glass collage 'Back to the Family' is part of the series, 'Find Yourself'. The challenges and transformations of parenthood that appeared during the pandemic lockdown are at the heart of these glass collages. Like the pandemic years that reshaped our daily lives, parenting is a journey of constant adaptation - balancing responsibility, exhaustion, and love while navigating an ever-changing reality.
Isolation, shifting priorities, and the blending of old and new habits mirror the experience of raising a child. Inspired by moments from family life, making this glass collage resembles the making of a patchwork quilt. Just as quilters stitch together pieces of fabric with different textures and histories, parents weave together tradition, personal experience, and new coping strategies to shape their children’s worlds.
Through this body of art, I reflect on the weight of caregiving, the resilience it demands, and the transformation it brings. My artwork invites contemplation on the evolving nature of parenthood - how it molds not only children but also those who guide them.
Instagram @oxanakovalchuk_artist
ELLIE KREISCHER
The Chair and Something Else
Color Pencil and Acrylic, 22" x 22", $1000
In 2016, I traveled to Sweden to research Hilma af Klint, seeking to understand her inspiration for working abstractly and its resonance with contemporary Swedish women artists. This journey transformed my practice, shifting my focus to meditation and intuitive creation. While in Stockholm, I connected with Hilma’s relative, Ulrika, who introduced me to their family medium, Sophie. Through ongoing sessions with Sophie over the past eight years, I’ve received guidance—including instructions from Hilma herself—on deepening my practice. Key instructions include: “Run for short periods,” “Pull the light of a candle over your head,” “Use light purple and cool colors,” and “Have a party in my studio.” These instructions inform my work, prompting reflection on ease versus challenge. My studio features an altar by the window where I center myself, open to ideas both internal and external. I prioritize the ideas that feel most vital and apply them to the surface.
@ellieplusart / elliekreischer.com
MINA MARKOVICH
From the Bottom
2013-2023, Acrylic, ink, PCBs, computer chips and cloth on aluminum frame, 13" x 11", $3,000.00
When the chip designer father passes, a mother is picking her chipped heart "From the Bottom".
https://www.minamarkovich.com/
EMMA MCDONALD DIAMOND
Invisible
Silver Bromide on Cold Press Watercolor, 11x14", $325
Through Emma’s recent work, she is unpacking the labyrinth of emotions that accompany the transition into parenthood. She reflects on what is lost: spontaneity, independence, and sense of self, as they dissolve into the all-consuming demands of caregiving.
In the delicate balance of fragility and resilience, Emma has discovered grace in the struggle. This imagery speaks of the silent battles waged within, the triumphs of survival, and the quiet moments of healing. Through layered textures, light, and imperfections, she evokes the dualities of motherhood: its tenderness and exhaustion, its clarity and confusion. This series is both deeply personal and universal. It is an ode to caretakers everywhere—those who create, nurture, and persevere through the quiet unraveling of their own stories.
@emmamcdonaldphotography || www.emmamcdonaldphotography.com
EMMA MCDONALD DIAMOND
Unrecognizable
Silver Bromide on Cold Press Watercolor, 15x15", $315
BRANDY M. PATTERSON
Charcoal Nest
Acrylic & Charcoal on Canvas, Framed 19in x 25in x 2in, $730
Brandy’s art reflects her journey through parenthood—capturing wild emotions, tender chaos, and fleeting moments of connection. She uses raw marks, layered textures, and bright colors to explore the beauty and vulnerability where creation and nurturing intertwine.
Circular strokes are a nod to the continuous cycles and repetition in both nature and mothering—the turning of seasons, the phases of the moon, the rhythms of daily life. These forms evoke calm, safety, and home, offering a visual language of belonging and care.
In some pieces, Brandy incorporates charcoal made from significant life moments, such as a family gathering, embedding memory directly into the work. These smoky lines cradle layers of expressive strokes, forming a nest-like sanctuary of love. Each mark, like a twig, is gathered with intention—holding space for both the untamed and the tender.
Through this process, she seeks to honor the depth of feeling found in everyday life: the warmth of shared experiences, the ache of impermanence, and the quiet power of presence. Her work is both a release and a reflection, an invitation to sit with the raw and radiant threads of lived stories.
Website: bmpatterson.com / Instagram: @brandympatterson
LISA PETSU
New Cherry Bomb
18x24 in. with objects extending from canvas. Acrylic, fabric, bobby pins, modeling paste, and wood trim. $1,100.00
I see materials in the world – layers of paint on walls, furniture, objects, and architectural details simultaneously revealing/concealing a narrative of perfectly imperfect drips of paint, blobs of color, and various textures. The layers reveal time, intention and fragments of emotion. The objects I use are buffers between spaces - outside world/interior personal space, extensions of the painted surface – reaching into the real world. Color is as important as texture and other qualities in these materials. Color functions like the sense of smell- it triggers a memory or emotion. It registers time, place and thing. Color is a connection that percolates emotion and idea in my painting. I redigest specific color references from popular culture, nature, my surroundings, intuition and memory onto the layered painting surface – recombining domestic, architectural, personal, and art elements to arrive at something that resonates with my experience in the world.
www.lisapetsu.com www.instagram.com/lisapetsuart
CARLA E. REYES
Endless Cycle
Acrylic and mixed-media on panel, 24x36in, $2250
The Motherwhelm Series explores the complexities and contradictions of motherhood and domestic daily life. The works encapsulate the humor, bittersweetness, absurdity, irony, and exposes the hidden longing and loss of self, often unexpressed by many mothers due to social pressures and expectations surrounding motherhood. Physically, the work incorporates relief texture and a strong emphasis on surfaces, as well as an interest in pattern and materials often associated with domesticity, craft, the “feminine,” and children; such as textiles/fabrics, brightly colored plastics, bubbly, fuzzy, and plush objects. The rigid surface of the wood panels provide a strong support for the textural treatments and sculptural elements applied.
https://www.carlaereyes.com https://www.instagram.com/carlacrafts/
HEATHER MICHEL RIDDLE
Empty Mother - Dishes
Photographic negative printed on transparency film, 11x14 (framed), $250
Is it the different experience, the experience outside the expected, that connects us or the mundane, everyday moments that are happening simultaneously with others? Can the enormity of ache be related to in the everyday?
During the COVID-19 pandemic and following, my work became even more influenced by both my every day experiences and my personal narrative. At the time it felt like there was no other choice; now I seek it out as the most inspiring one.
This is a photographic “negative” of a traditional domestic scene - washing dishes. What threads a variety of influences together is an attempt to challenge the elevation of “natural” conception and relate an experience of (in)fertility. The traditional domestic scene comments on notions of how we identify and narrate woman and mother.
Dealing with infertility can challenge the concept of female/feminine/fertile and thus create the feeling of a half-formed woman; not fully developed, like a photographic negative. Negatives are left in a waiting state between the moment that was captured and the moment they become realized photographs. Similarly, infertility time can be experienced as a waiting state, with an unknown, potentially never-ending, end.
@hmr_art (Insta) www.heathermichelriddle.com
NAN RING
Child in Veil
The portrait I have submitted of a child wearing a painterly veil is one of a series of figures in veils that are interesting to me psychologically, addressing questions about ephemerality and interiority. As much as my son is part of me and close to me, there are parts of him that I cannot ever know. The veil protects as well as masks; and shrouds his face in mystery.
Nanringstudio.com. @ring.nancy
HEYLEY WESCOTT
Common Vision
Acrylic on canvas, 16x20 print (framed), $100
Common Vision is a celebration of the sacred union between man and woman, a symbolic expression of the beauty and spiritual depth found in the act of conception and marriage. The embracing figures represent not only love and intimacy but also the transformative power of partnership and the dream of parenthood.
Their faces blend into a Venn diagram to capture the common goal of becoming one, while their skin, glowing with the rich hues of sunset—yellows, magentas, and purples—represents the fire of life itself that surges through them at the threshold of new beginnings.
This painting speaks to the essence of mothers and fathers and the shared of bringing forth life. Parenthood is more than biology; it is an art form, a balance of strength, tenderness, and dreams interwoven.
Within every child exists the fusion of two histories, two hopes, and two souls daring to create a future together.
Through Common Vision, I honor the unspoken poetry of conception and the sacred partnership that forms the foundation of family. It is a tribute to love’s enduring power, the unseen forces that bind us, and the promise of a life carried forward by those who choose to dream together.
Instagram: @spiritsoftheart , website: revolutionarysweetheart.squarespace.com
JENNIFER SCHUMACHER WALLER
recovering from the quiet rustle
Material: stoneware, violin bow hair. 2024. Price: $800.00
Description: Two forms resting and nestled together with bow hair
My work reflects the quiet softness in life though the breath of being a mother. Each piece is a composition to the ephemeral nature and essence of motherhood, capturing tender moments, security and care with the use of clay.
@jenniferwallerart JenniferWallerArt
JENNIFER SCHUMACHER WALLER
Pink Pillow
Two ceramic forms snuggled together on a pillow Dimensions: 12x12x12 Material: ceramic and fiber Price: 800
TAMARA ZIBNERS
Hold You #52
Inkjet Print, 6"x6", $200
Photography alters our perceptions of reality, yet I clutter my life with an excess of pictures. Even though I know the desire to hold onto a memory is a sick aspect of modern life, I do it anyway. I play with photography and imagery in my digital drawings and cut-up inkjet prints, abstracting, destructing, and constructing colorful forms and shapes. My series Hold You is born from photographs in which my son and I are touching, documented moments of a physical connection. The compressed pictorial composition, near-total image obliteration, and over-saturated color in my digital drawings and inkjet collages are visual representations of the outside world’s informational and emotional overload that I observe while existing in relative calm within the confinements of domesticity and motherhood. The result is bright and enticing — perhaps too bright, like a warning or discomfort signal.
@tzibs / www.zibners.com
TAMARA ZIBNERS
Hold You #23
Inkjet Print, 6"x6", $200