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 internal, felt experience. She turned to hand-papermaking, initially working with Dieu Donne Paper, to create large, handmade paper collages with texture and physical presence. Their organic, floating forms allude to inner experiences of the body.
Interest in the body led to ten years of making sculptures that investigate touch as a way of knowing by inviting people to touch her tactile sculptures blindfolded. Her research led to engaging with neuroscientists and engineers worldwide working on haptic 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). She is a member of Sensory Sites, an international collective that generates site-specific installations to explore multi-sensory perception.
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 like steel, stone, rope and wood. She has animated her sculptures with neon, light and video, collaborating with filmmakers to project moving images onto translucent skin sculptures, transforming both sculpture and image.
A collaboration with dancer-choreographer Paul Matteson further animates her work as he moves through, grapples with, and changes her sculptures. She is collaborating with evolutionary ecologist Larry Stevens to create installations inspired by the nature of springs and groundwater. She is a member of Think About Water, an artists’ collective whose members work with and advocate for the well-being of water.
Selected Solo Exhibitions
2022
how many times, A.P.E.@ Hawley, Northampton, MA
2020
how many times, School for Contemporary Dance and Thought, Northampton, MA, Barre Center for Buddhist Studies, Barre, MA
2017
Night Mind, Boston Sculptors Gallery, Boston, MA
2015
Blindsight (with Sarah Bliss), Boston Sculptors Gallery, Boston, MA
2014
Moving Water (with Tereza Stehlikova), October Gallery, London, UK
2013
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
2012
Every Mother (with Tereza Stehlikova) Kingsgate Gallery, London, UK
2010
Natural Light, Boston Sculptors Gallery, Boston, MA
2008
Body Sight, Boston Sculptors Gallery, Boston, MA
2006
Max Planck Institute for Biological Cybernetics, Tuebingen, Germany
Second Skin, Brattleboro Museum and Art Center, Brattleboro, VT
2005
Form is Emptiness, Oresman Gallery, Smith College, Northampton, MA
1999
Rosalyn Driscoll, Westenberg Gallery, Marfa, TX
Recent Sculptures, Thorne’s Gallery, Northampton, MA
The Sense of Touch, University of Arizona Art Museum, Tucson, AZ
1995
The Art of Touch, Middlebury College Art Museum, Middlebury, VT
The Sense of Touch, Brattleboro Museum and Art Center, Brattleboro, VT
1994
The Art of Touch, DeCordova Museum, Lincoln, MA
1993
The Art of Touch, Museum of Fine Arts, Springfield, MA
1992
Rosalyn Driscoll, Rancho Linda Vista Gallery, Oracle, AZ
1989
Collages, Image Gallery, Stockbridge, MA
Selected Group Exhibitions
2023
Rivers, Garrison Institute, Garrison, NY
Some Kind of Nature, Santa Fe, NM
2022
Elements, Art Fluent, https://www.art-fluent.com/elements
Mixed Media Online, Site: Brooklyn Gallery, NYC
Fragile Rainbows: Traversing Habitats, Williamsburg Art and Historical Center, NYC
2021
The State of Contemporary Drawing, Hilliard Gallery, Kansas City, MO
Working Through, Working Forward, Widener Gallery, Trinity College, Hartford, CT
London Biennale, London, UK
Lumiere, Art Fluent, https: /www.art-fluent.com/lumiere
Drawing Discourse, University of North Carolina Ashville, NC: https://aah.unca.edu/exhibitions/drawing-discourse/12th-annualhttps://aah.unca.edu/exhibitions/drawing-discourse/12th-annual
Drawn to Paper, Atlantic Gallery, New York, NY
Think About Water, https://publish.exhibbit.com/gallery/167115878923584736/long-gallery-49047/
Of the Earth, Art Fluent, https://www.art-fluent.com/of-the-earth
2020
Site Visit: https://www.artland.com/exhibitions/site-visit-85f7c8
A Kind of Magic, Memoire de l’Avenir, Paris, France
2019
The Book as Art v7.0, Decatur Arts Alliance, Decatur, GA
Please Touch the Art, Mosesian Center for the Arts, Watertown, MA
2018
Natural Forces: Three Sculptors Respond, St.Gaudens Park, Cornish, NH
Breath and Matter, Boston Sculptors Gallery, Boston, MA
2017
New Power from the United States, Shanghai Tower, Shanghai, China
Reunion, Smith College Alumnae House, Northampton, MA
2016
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
2015
West on the Left, East on the Right, 188Art, Shanghai, China
Boston Sculptors at Chesterwood, Chesterwood, Stockbridge, MA
34: Isles Arts Initiative, Boston Sculptors Gallery, Boston, MA
Pioneer Women, MAP, Easthampton, MA
Boston Sculptors, Concord Art Association, Concord, MA
Forever and After, South Shore Art Center, Cohasset, MA
2014
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
2013
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
2012
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
2011
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 Crossovers: Synesthesia in American Art, Burchfield Penney Art
Center, Buffalo, NY
Strand, Boston Sculptors Gallery, Boston, MA
Pioneer Women, Jasper Rand Museum, Westfield, MA
2010
Sensory Crossovers: Synesthesia 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
2009
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
2008
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
2007
Enaction in Arts, Enactive 2007, Grenoble, France,
Biennial 2007, New Hampshire Institute of Arts, Manchester, NH
World Haptics, Tsukuba, Japan
2006
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
2000-2003
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
2001
Scene/Unseen, Eastern New Mexico University, Portales, NM
Memory of the Hand, Minneapolis Institute of Arts, Minneapolis, MN
1998
NEFA Sculpture Fellows, Boston Sculptors at Chapel Gallery, Newton, MA,
1996
Vis/Ability, University of Michigan School of Art, Ann Arbor, MI
1995
The Artist Book, Canal Gallery, Holyoke, MA
1994
Artists Congress II, Contemporary Artists Center, North Adams, MA
1992
Aspects of Paper, Zone Art Center, Springfield, MA
1991
Paper:the Essential Material, Harpercollins Gallery, New York, NY
Bodystories, Middlebury College Art Museum, Middlebury, VT
1988
Paperworks, Art Complex at Duxbury, Duxbury, MA
1987
Paper, Ben Shahn Galleries, William Patterson College, NJ
Grants and fellowships
2013 Fellowship in Sculpture/Installation/New Genres with Sarah Bliss, Massachusetts Cultural Council
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
Residencies
2023 Djerassi, CA
2019 Art Research, L’AiR Arts, Paris, France
2011 Dartington Space, Dartington Hall Trust, Totnes, Devon, UK
2001 Helene Wurlitzer Foundation of New Mexico, Taos, NM
Reviews, essays and articles
2015 Sculpture review of Blindsight by Marty Carlock, November
2015 Boston Globe review of Blindsight by Cate McQuaid, June 30
http://www.wildculture.com/article/generation/1285
http://www.fadwebsite.com/2013/10/01/review-generation-gvart-a-collaborative-workby-rosalyn-driscoll-and-tereza-stehlikova/
2011 Sculpture review of Natural Light 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, 2008)
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;http://www.bigredandshiny.com/cgibin/
BRS.cgi?section=article&issue=145&article=2013-04-09173510567871286779&printView=true
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 and Presentations
2019
Practicing Presence Festival, Northampton, MA
2016
Somatics in Art, International Visual Literacy Assoc., Concordia U, Montreal
Aesthetic Touch, University of Nebraska Omaha Art Gallery
Tactile Artwork Symposium, National Federation of the Blind, Baltimore, MD
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
Wilds of the Earth and Body, Esalen Institute, Big Sur, CA
2012
Mind/Brain Institute, John Hopkins University
2011
Moore Lab, Neuroscience Dept, Brown University
Light in Winter: Science and Art, Ithaca, NY
Light and Shadow Salon, Horse Hospital, London,
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
Symposium on Sculpture and Touch, Courtauld Institute of Art, London, UK
2008-11
Consciousness and First Person Methodologies, Ratna Ling, CA
2007
WorldHaptics, Tsukuba, Japan
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
2006
Art and the Senses, Science Oxford, Oxford, UK
Max Planck Institute for Biological Cybernetics, Tuebingen, Germany
Eurohaptics, Paris, France
2005
International Haptics, Tsukuba, Japan
Brattleboro Museum and Art Center, Brattleboro, VT
2004
McGovern Institute, Dept of Brain and Cognitive Science, MIT, Cambridge, MA
2002
Digital Dialogues: Technology and the Hand, MIT Media Lab/Haystack, ME
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, Montreal, Canada
Clearing the Path: Art and Accessibility in New England, Boston, MA
1999 Minneapolis Institute for the Arts, Minneapolis, MN
1999 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
1995 New England Museum Association, Middlebury, VT
1995 Boston Sculptors’ Gallery, Newton MA
1994 Museum of Fine Arts, Boston
1994 DeCordova Museum, Lincoln, MA
1994 Museum of Fine Arts, Springfield, MA
Education
1969-71 Silvermine College of Art
1967 BA Smith College
Curatorial and Teaching
2016-21 Dharma and Art, Barre Center for Buddhist Studies, program developer, teacher
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
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
2015 Sculpture review of Blindsight by Marty Carlock, November
2015 Boston Globe review of Blindsight by Cate McQuaid, June 30
http://issuu.com/gvart/docs/gv_art_-_generation_catalogue/1?e=2372036/4871189
http://www.wildculture.com/article/generation/1285
http://www.trebuchet-magazine.com/generation-gv-art/
http://www.fadwebsite.com/2013/10/01/review-generation-gvart-a-collaborative-work-by-rosalyn-driscoll-and-tereza-stehlikova/
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
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; http://www.bigredandshiny.com/cgi-bin/BRS.cgi?section=article&issue=145&article=2013-04-09-173510567871286779&printView=true
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
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,
Montreal
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
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).
http://sensorysites.co.uk
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)
terezast.com
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)
anais-tondeur.com
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.
www.kaysyrad.co.uk
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)
sarahblissart.com
Conjured from Dust, a book of my poetry, includes images of my artwork, published by Open Field Press, 2013, available through Small Press Distribution: http://www.spdbooks.org/Search/Default.aspx?SearchTerm=conjured+from+dust
Christopher Lenaerts is Driscoll’s premier fabricator for 20+ years.
www.finewoodworkingandfurnituredesign.com