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Originally trained in art history at Smith College, Rosalyn Driscoll worked as curatorial assistant in the Asian department of the Yale University Art Gallery before studying fine art at Silvermine College of Art in Connecticut.

The imagery of her early work in painting and drawing derived from the body. First the visible body, then the anatomical body, and finally the body abstracted from experience. She turned to hand-papermaking, working with Dieu Donne Paper, to create large, handmade paper collages with texture and physical presence. Their organic, floating forms allude to her inner experience of the body.


Interest in the body led to ten years of making sculptures that investigate touch as a way of knowing, inviting people to touch her sculptures blindfolded. She participated in neuroscience conferences worldwide on haptics and tactile perception. She is a member of Sensory Sites, an international collective based in London that generates exhibitions to explore multi-sensory perception. This work is described in her book on tactile and somatic perception, The Sensing Body in the Visual Arts: Making and Experiencing Sculpture, (London: Bloomsbury, 2020).

During a residency in Taos, New Mexico, in 2001, she discovered rawhide, a powerful, malleable material that imbues her work with the natural forces of movement, transformation and death. Her sculptures combine rawhide with elemental materials such as steel, stone, rope and wood. She animates her sculptures through movement and touch of the viewer and with neon, light and video. She has collaborated with filmmakers Tereza Stehlikova and Sarah Bliss to project moving images onto the translucent skin sculptures, transforming both sculptures and images.

A recent collaboration with dancer-choreographer Paul Matteson further animates her work by merging his movement with her sculptures and materials. Several new projects engage with water as an expressive element and a force of nature: collaborating with Springs Stewardship Institute in Arizona for a forthcoming exhibition, Water Serpent, and with Serious Play Theatre Ensemble as a dramaturg for a devised theater production, Moving Water, currently in development.


Selected Solo Exhibitions

Water Serpent, Museum of Northern Arizona, Flagstaff, AZ
how many times, collaborative sculptural dance performance with Paul
Matteson, Barre Center for Buddhist Studies, Barre, MA
Night Mind, Boston Sculptors Gallery, Boston, MA
Blindsight (with Sarah Bliss), Boston Sculptors Gallery, Boston, MA
Moving Water (with Tereza Stehlikova), October Gallery, London, UK
Water Over Fire, Boston Sculptors Gallery, Boston, MA
Generation, (with Tereza Stehlikova), GV Art Gallery, London, UK
Poetics of Skin 2 ((with Sarah Bliss)Esalen Institute, Big Sur, CA
Every Mother (with Tereza Stehlikova) Kingsgate Gallery, London, UK
Natural Light, Boston Sculptors Gallery, Boston, MA
Body Sight, Boston Sculptors Gallery, Boston, MA
Max Planck Institute for Biological Cybernetics, Tuebingen, Germany
Second Skin, Brattleboro Museum and Art Center, Brattleboro, VT
Form is Emptiness, Oresman Gallery, Smith College, Northampton, MA
Rosalyn Driscoll, Westenberg Gallery, Marfa, TX
Recent Sculptures, Thorne’s Gallery, Northampton, MA
The Sense of Touch, University of Arizona Art Museum, Tucson, AZ
The Art of Touch, Middlebury College Art Museum, Middlebury, VT
The Sense of Touch, Brattleboro Museum and Art Center, Brattleboro, VT
The Art of Touch, DeCordova Museum, Lincoln, MA
The Art of Touch, Museum of Fine Arts, Springfield, MA
Rosalyn Driscoll, Rancho Linda Vista Gallery, Oracle, AZ
Collages, Image Gallery, Stockbridge, MA

Selected Group Exhibitions
London Biennale, London, UK
Lumiere, Art Fluent, https: / 
Drawing Discourse, University of North Carolina Ashville, NC:
Drawn to Paper, Atlantic Gallery, New York, NY
Think About Water,
Of the Earth, Art Fluent,
Site Visit:
A Kind of Magic, Memoire de l’Avenir, Paris, France
The Book as Art v7.0, Decatur Arts Alliance, Decatur, GA
Please Touch the Art, Mosesian Center for the Arts, Watertown, MA
Natural Forces: Three Sculptors Respond, St.Gaudens Park, Cornish, NH
Breath and Matter, Boston Sculptors Gallery, Boston, MA
New Power from the United States, Shanghai Tower, Shanghai, China
Reunion, Smith College Alumnae House, Northampton, MA
Invitational American Artists, 188Art, Qingdao, Shandong, China
West on the Left, East on the Right, Jiuchuan City Museum, Gansu, China
Hands On, Concordia University, Montreal, Canada
Gravity, Brookline Art Center, Brookline, MA
Sensory: Please Touch the Art, University of Nebraska Omaha Art Gallery
West on the Left, East on the Right,
 188Art, Shanghai, China
Boston Sculptors at Chesterwood, Chesterwood, Stockbridge, MA
34: Isles Arts InitiativeBoston Sculptors Gallery, Boston, MA
Pioneer Women, MAP, Easthampton, MA
Boston SculptorsConcord Art Association, Concord, MA
Forever and After, South Shore Art Center, Cohasset, MA
Captive Lights, Galerie Capazza, Nancay, France 
Naturalisme Integral, Galerie Capazza, Nancay, France
Ovid’s Girls, Kunstverein Tiergarten, Berlin, Germany
Ovid’s Girls: Small Works, Gallery Wichtendahl, Berlin, Germany
                        Boston Sculptors Gallery, Boston, MA
                        Gallery Kayafas, Boston, MA
                        MEWO Kunsthalle, Memmingen, Germany,
Visions/Visiones, Museo Convento de Santo Domingo Qorikancha,
Cuzco, Peru
Transcripts/Transcripciones, Instituto Cultural Peruano Norteamericano,
Cuzco, Peru
Convergence, Christian Science Plaza, Boston, MA
Past Tense, Future Imperfect, ArtShare LA, Los Angeles, CA
REACH, Wistariahurst Museum, Holyoke, MA
Abstractions: New Modernism, Ann Street Gallery, Newburgh, NY
Amherst Biennial
, Amherst MA
Height, Width, Depth, Time, Boston Sculptors Gallery, Boston, MA
Hidden in Plain View, Paper City Studios, Holyoke, MA
Boston Sculptors Celebrates its 20th Anniversary, University Gallery,
UMass Lowell
Sensory Worlds, Inspace, University of Edinburgh, UK
Just Under the Surface, Crypt Gallery, London, UK
Art Beyond Sight, Noyes Museum of Art, Oceanville, NJ
Sensory CrossoversSynesthesia in American Art, Burchfield Penney Art
Center, Buffalo, NY
Strand, Boston Sculptors Gallery, Boston, MA
Pioneer Women, Jasper Rand Museum, Westfield, MA
Sensory CrossoversSynesthesia in American Art, Albuquerque Museum
Artists of Silvermine, Unison Art Center, New Paltz, NY
Reshaping Reality, Brattleboro Museum and Art Center, Brattleboro, VT
On/Of/About Paper, Boston Sculptors Gallery, Boston, MA
Pioneer Women, Paper City Gallery, Holyoke, MA
Safe to Touch, Hub National Center for Craft and Design, Sleaford, UK
Art Beyond Sight, New Hampshire Art Association, Portsmouth, NH
Pioneer Women, Tabla Rasa Gallery, New York, NY
Sculpture and Touch, Courtauld Institute of Art, London, UK
Touch: An Art Experience for the Senses, DaVinci Gallery, Philadelphia PA
Little Women, Williston Northampton School, Easthampton, MA
Enaction in Arts, Enactive 2007, Grenoble, France,
Biennial 2007, New Hampshire Institute of Arts, Manchester, NH
World Haptics, Tsukuba, Japan
Art and the Senses, Science Oxford, Oxford, UK
Eurohaptics, Paris, France
Give Us a Hand, Studio Place Arts Gallery, Barre, VT
Millenial Forest, Locco Ritoro Gallery, Boston, MA
Emotion Pictures, American Academy of Orthopedic Surgeons’ traveling exhibition, Herbst International Exhibition Hall, San Francisco; Millennium Arts Center, Washington DC; United Nations Headquarters, New York; National Museum of Health and Medicine, Washington, DC; Thomas Hospital, Fairhope, AL; Brunnier Art Museum, Iowa State University, Ames, IA; Minnesota Government Center, Minneapolis; Chicago Cultural Center, Chicago IL; Pennsylvania State University, University Park, PA
Scene/Unseen, Eastern New Mexico University, Portales, NM
Memory of the Hand, Minneapolis Institute of Arts, Minneapolis, MN
NEFA Sculpture Fellows, Boston Sculptors at Chapel Gallery, Newton, MA,
Vis/Ability, University of Michigan School of Art, Ann Arbor, MI
The Artist Book, Canal Gallery, Holyoke, MA
Artists Congress II, Contemporary Artists Center, North Adams, MA
Aspects of Paper, Zone Art Center, Springfield, MA
Paper:the Essential Material, Harpercollins Gallery, New York, NY
Bodystories, Middlebury College Art Museum, Middlebury, VT
Paperworks, Art Complex at Duxbury, Duxbury, MA
Paper, Ben Shahn Galleries, William Patterson College, NJ

Grants & Fellowships

2013 Fellowship in Sculpture/Installation/New Genres with Sarah Bliss,
Massachusetts Cultural Council
2011 Artist’s residency Dartington Space, Dartington Hall Trust, Totnes, Devon, UK
2001 Fellowship, Helene Wurlitzer Foundation of New Mexico, Taos, NM
1998 Arts Lottery Grant, Northampton Arts Council
1997 Regional Fellowship in Sculpture, New England Foundation for the Arts
1996 Professional Development Grant, Massachusetts Cultural Council
1995 Artists’ Projects: New Forms, New England Foundation for the Arts

Reviews, Essays, Articles

2015  Sculpture review of Blindsight by Marty Carlock, November
2015  Boston Globe review of Blindsight by Cate McQuaid, June 30
2011  Sculpture review by Marty Carlock, October, Vol. 30, no. 8
2009  Art New England review “Rosalyn Driscoll: Body Sight” by Raymond Liddell,     Feb/March
2008  Sculpture and Touch, Francesca Bacci and Peter Dent, exhibition catalogue, (Courtauld Institute of Art, London, UK)
Human Hand Function by Susan Lederman, Lynette Jones (Oxford University Press, 2006)
2005  Brattleboro Reformer “Skin Deep” by Christine Holderness December
Body and Earth by Andrea Olsen (University of New England Press, 2002)
Emotion Pictures (American Academy of Orthopaedic Surgeons, 2001)
Scene/Unseen (Eastern New Mexico University, 2001)
1999 Arizona Daily Star ”Please touch” by Pamela Portwood February
1998 Sculpture “Rosalyn Driscoll: Touching Required” by Marty Carlock, December
1995 Contact Quarterly “Touching Art”
1995 Boston Globe “Winning Display of NEFA Artists” by Christine Temin
1995 Brattleboro Reformer “Art of touch is enriching” September
1995 The Middlebury Campus “Unusual Exhibit” September
1995 Boston Phoenix “The art of touch” by Cate McQuaid, January
1994 Boston Globe “Perspectives” by Christine Temin, December
1993 Valley Optimist “More than a feeling” by Gretchen Hitchner, July
1993 Hampshire Gazette “A new way of seeing art” August
1993 Springfield Sunday Republican “Sculpture as Metaphor” July
1993 Artists Trust Quarterly “Eyes and Hands” Fall
1993 Valley Forum “Art to touch: a world under hands” October

Authored Publications

The Sensing Body in the Visual Arts: Making and Experiencing Sculpture (London: Bloomsbury, 2020)
Big, Red & Shiny, “By the Light of the Body,” July, 2013, Issue 10;
Sculpture and Touch, Peter Dent, ed, “Playing with Fire” (London: Ashgate Press, 2013)
The Hand: An Organ of the Mind, Z. Radman, ed. “Rehabilitating the Hand” (MIT Press,   2012)
Art and the Senses Francesca Bacci and David Melcher, ed., “Aesthetic Touch” (Oxford University Press, 2011)
Artesian “Aesthetic Touch” Autumn/Winter 2008
Proceedings of Enactive/Enaction in Arts Conference 2007, (Grenoble, France, 2007)
Proceedings of the EuroHaptics International Conference (Paris, 2006)
Nouvelles de Danse Vu du Corps, “Choreographie pour les mains” 48/49, Winter 2001

Lectures & Presentations

2016  Somatics and Art, International Visual Literacy Association, Concordia
University, Montreal
          Worlds of Water, Transcultural Exchange, Boston, MA
          Dharma Practice, Art Practice, Barre Center for Buddhist Studies, Barre, MA
2013  Creative Practice as Ritual Process, GV Art Gallery, London, UK
2013  Wilds of the Earth and Body, Esalen Institute, Big Sur, CA
2012  Mind/Brain Institute, John Hopkins University, Baltimore, MD
2011  Moore Lab, Neuroscience Dept, Brown University, Providence, RI
          Light in Winter: Science and Art, Ithaca, NY
          Light and Shadow Salon, Horse Hospital, London, UK
2010  Eurohaptics (keynote), Amsterdam, Netherlands
          Art on the Brain, Mt Holyoke College, So. Hadley, MA
2009 Royal College of Art, London, UK
          The Hand: an Organ of the Mind, InterUniversity, Dubrovnik, Croatia
          Art Beyond Sight, Metropolitan Museum of Art, New York, NY
Center for Non-Invasive Brain Research, Beth Israel Deaconess Hospital,
Boston, MA
         Symposium on Sculpture and Touch, Courtauld Institute of Art, London, UK
2008-11 Consciousness and First Person Methodologies, Ratna Ling, CA
2007 Enaction in Arts (keynote), Grenoble, France
          Art Beyond Sight, Metropolitan Museum of Art, New York, NY
Center for Non-Invasive Brain Research, Beth Israel Deaconess Hospital,
Boston, MA
2006  Art and the Senses, Science Oxford, Oxford, UK
Max Planck Institute for Biological Cybernetics, Tuebingen, Germany
Eurohaptics, Paris, France
2005  Brattleboro Museum and Art Center, Brattleboro, VT
2004  McGovern Institute, Dept of Brain and Cognitive Science, MIT, Cambridge
2002  Digital Dialogues: Technology and the Hand, MIT Media Lab/Haystack, ME
2002  Boston Architecture Center, Boston, MA
Connecticut Board of Education and Services for the Blind, Hartford, CT
Inclusive Practices in the Arts, Studio Place Arts, Barre, VT
2000 Uncommon Senses: The Senses in Art and Culture, Concordia University,
Clearing the Path: Art and Accessibility in New England, Boston, MA
1999  Minneapolis Institute for the Arts, Minneapolis, MN
University of Arizona Museum of Art, Tucson, AZ
1998  Congress of International Association of Empirical Aesthetics, Rome, Italy
1995  This/Ability: Conference on Disability and the Arts, University of Michigan
New England Museum Association, Middlebury, VT
1995  Boston Sculptors’ Gallery, Newton MA
1994  Museum of Fine Arts, Boston
DeCordova Museum, Lincoln, MA
Museum of Fine Arts, Springfield, MA

Curatorial & Teaching

2016-2021 Dharma and Art program development and teaching, Barre Center for Buddhist Studies, Barre, MA
1985-90 Brattleboro Museum and Art Center, acting director, curator, board member
1971-77 Prescott College, adjunct faculty in art
1967-69 Yale University Art Gallery, curatorial assistant in the Asian Art department


1969-71 Silvermine College of Art
1967     BA, Smith College


Sensory Sites, an international artists collective based in London committed to making multisensory collaborative installations. (Just Under the Surface, Crypt Gallery, London, 2011, Generation, GV Art, London, 2013, Moving Water, London, 2014).

Tereza Stehlikova, a frequent collaborator, is a London-based Czech film-maker and founder of Sensory Sites. With Stehlikova, Driscoll co-created Moving Water (London, 2014), Generation (London, 2013), Every Mother and Every Daughter (London, 2012), Just Under the Surface (London, 2011)

Anais Tondeur, multi-media French artist based in Paris and London, is a fellow member of Sensory Sites and collaborator in Just Under the Surface (London, 2011) and Sensory Sites’ Moving Water (London, 2014)

Kay Syrad, poet, novelist, and art-writer, is a member of Sensory Sites. She investigates how material determines form, in writing itself and in the natural and built environments.

Sarah Bliss, a collaborator, works in film, video, performance, photography, sound, installation, and sculpture. Bliss and Driscoll together received the Massachusetts Cultural Council Fellowship in Sculpture and Installation for 2013 (Poetics of Skin, 2012), and created Blindsight an immersive installation (Boston, 2015)

Conjured from Dust, a book of my poetry, includes images of my artwork, published by  Open Field Press, 2013, available through Small Press Distribution:

Christopher Lenaerts is Driscoll’s premier fabricator for 20+ years.

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