With a focus on modes of Creative Direct Action deployed by female activists, Ellen Lesperance explores the languages of women’s work, public space, and advocacy through the lens of important, yet often overlooked histories. For more than a decade, Lesperance has been involved in archiving ephemera from the Greenham Common Women’s Peace Camp (Berkshire, England, 1981-1999), one of the longest running examples of feminist protest. Greenham Common’s rich archive has long influenced Lesperance, most notably in gridded paintings inspired by images sourced from this archive. Lesperance recreates the patterns, colors, and gauge of hand-knit sweaters worn by the women who lived at the camp. The garments communicated the wearer’s ideological intentions, and Lesperance’s paintings, carry two functions: to assign valor to the woman who originally wore the sweater and to recruit a new wearer to action. In this way, Lesperance’s work links past events to future actions, while reinforcing the notion of the individual body as the site of social and political order.
Stefanie Victor’s small-scale sculptures engage the languages of Minimalism and Geometric Abstraction while achieving a specificity of place and sentiment. The forms she creates can be understood through their carefully chosen materials, structure, scale, and modes of display. They refer to parts of and for bodies, as well as to jewelry, hardware, armor, and everyday objects, inviting a nuanced visual experience that extends across multiple categories and expectations. The works exist in a liminal state where neither function nor identity is rigid. Rather, the sculptures serve as quiet monuments to private experience and the work of the studio — the artist's hands twisting, folding, bending, forming, and shaping materials.