Women – Rosemary Meza-DesPlas

Miss Nalgas USA 2022, A Performance Artwork

“Miss Nalgas USA 2022” is a performance artwork. Nalgas means buttocks in Spanish. The artwork is inspired by Arlene Davila’s book Latinos, Inc.: The Marketing and Making of a People and her discussion on the “commodification of ethnicity” and the “re-authentication of U.S. minorities in terms of the ‘right’ way of being an ‘ethnic.’” This artwork uses humor to encourage dialogue about ethnic identity, body image, and aging. The performance features contestants vying for the honor of Miss Nalgas USA 2022. The artist has invented this beauty pageant which focuses on self-identifying women over 50. There is a term for what happens to women over 50 in society; it is called the Invisible Woman Syndrome. Coahuiltecan/Spanish artist, Rosemary Meza-DesPlas is the character and pageant winner Miss Refried Rosi Frijoles. “Miss Nalgas USA 2022” pokes fun at the pageant concept and its role in promoting stereotypes of beauty and the feminine American identity. Dual identity, Latina American, leads to contrary beauty standards being foisted upon the Latina body. The dialogue of the performance incorporates common misconceptions about New Mexico and references specific geographic locations in the Four Corners.

The performance was held in the Farmington Civic Center on Saturday, November 12, 2022 in Farmington, New Mexico. Farmington is part of the Four Corners in Northern New Mexico. This performance artwork was supported by the Fulcrum Fund, a grant program of 516 ARTS made possible by The Andy Warhol Foundation for the Visual Arts and the Frederick Hammersley Fund for the Arts at the Albuquerque Community Foundation.

The sole creator for this project is Rosemary Meza-DesPlas; however, the performance brought together community members. This performance included Karen Ellsbury, Doug Gonzalez, Patrick Hazen, Stephanie Jaquez, Scott Michlin, Amanda Robles, Lori Stephens, the Zia Chicks.

Refried Rosi Frijoles presenting her monologue in “Miss Nalgas USA 2022”. Monica Leaming and Cecilia Taulbee Leaming from the Zia Chicks in the background.

The performance includes a video artwork which opens with select images of my watercolors. A narration can be heard as the watercolors flash on the screen. The words are from Eve Ensler’s play The Good Body; this play revolves around the theme of body positivity. An excerpt of Carmen’s monologue (a Puerto Rican woman from Brooklyn) is heard, “Good butts, good assses, ooh they are different, they are everything. You want to stick it out, make it visible everywhere you go, particularly on the street, “Hi, baby.” We begin practicing when we’re young like driving lessons, backing them up, turning them around, shining them up (tss!) for display. You want them round, plumpy, and high.”

The judges for “Miss Nalgas USA 2022”: Stephanie Jaquez, Patrick Hazen, Amanda Robles, Doug Gonzalez. The judges’ banter, satirical and humorous, advanced the themes of the performance artwork. Each judge represented a specific personality type. Stephanie Jaquez (Uno) policed the authenticity of ethnicity. She was the hypercritical voice. Patrick Hazen (Dos) gave voice to ingrained misogynistic attitudes. Amanda Robles (Tres) was the compromiser; her centrist viewpoint balanced out the harsh criticism leveled by judge Uno. Doug Gonzalez (Cuatro) was the Latinx ethnicity expert. His role was to state rational information.

Scott Michlin was the emcee in “Miss Nalgas USA 2022”. Wearing a fake mustache, speaking overtly bad Spanish, and wearing a kitschy Mexican suit, the emcee represented the practice of whitewashing in Hollywood. This practice by movie executives serves to reinforce the invisibility of Latinos in film.

(L to R) Refried Rosi Frijoles with Audacious Raquel Arches and Rocky Rita Badlands were the contestants in “Miss Nalgas USA 2022”. As a whole, they presupposed the quality and quantity of ethnicity required to achieve a sense of authenticity. Breaking stereotypes placed upon older women in society, they slapped ass: these women candidly talked about ageism and self-critical body image.

The Zia Chicks (Cecilia Taulbee Leaming and Monica Leaming) complemented this artwork by performing music which matched the mood of each segment within “Miss Nalgas USA 2022”. Their music set the tone throughout the performance artwork and asserted a joyous sensibility.

Latinx Artist Fellowship

Just wanted to share some exciting news! I am so honored to announce I am a recipient of the Latinx Artist Fellowship. The Mellon Foundation and the Ford Foundation announced on May 12th the newest cohort of the Latinx Artist Fellowship—a multiyear initiative administered by the US Latinx Art Forum (USLAF) in collaboration with the New York Foundation for the Arts. In its second year, the fellowship recognizes 15 of the most compelling Latinx visual artists working in the United States today, and aims to address a systemic lack of support, visibility, and patronage of Latinx visual artists—individuals of Latin American or Caribbean descent, born or living in the United States.

The 2022 Latinx Artist Fellows are:

Tanya Aguiñiga, Candida Alvarez, María Magdalena Campos Pons, Maria Gaspar, Jay Lynn Gomez, Lucia Hierro, Consuelo Jimenez Underwood, Koyoltzintli, Leslie Martinez, Amalia Mesa-Bains, Rosemary Meza-DesPlas, Las Nietas de Nonó, Carmelita Tropicana, Juana Valdés, Vincent Valdez.

The 2022 Fellowship class was chosen to reflect the diversity that exists within the Latinx community, highlighting the practices of women-identified, queer, and non-binary artists, as well as those from a variety of racial and ethnic backgrounds, ranging from Chicanx and Ecuadorian-American to Afro-Cuban and Indigenous. The cohort includes artists working in locations such as Baroda, Michigan; Farmington, New Mexico; San Antón, Carolina, Puerto Rico; and Nashville, Tennessee, while the aesthetic practices represented by the fellows span installation art, abstraction, and performance, as well as contemporary craft, textile, and fiber-based work. Deliberately intergenerational, it is equally divided between emerging, mid-career, and established artists.

Marching Across Your Lawn, The Grass is on Fire

Marching Across Your Lawn,

The Grass is on Fire

Amos Eno Gallery

April 22 – May 16, 2021

Centered upon the act of marching, my solo exhibition March Across Your Lawn, The Grass is on Fire opened in April at Amos Eno Gallery. Marching is the simplest use of the physical body as a political force. Affected by the tumultuous past year of demonstrations, I chose to re-examine the history of marches. In particular, protest marches led by women. Feminine bodies reflect the varying tempos and pauses of a demonstration; therefore, they illustrate the visual structure of marching. Emphasizing the vulnerability of the physical body during a demonstration, figures are depicted nude. The invisible becomes visible – it is a risky exposure. Art historically, partially nude women sometimes convey political symbolism. Eugene Delacroix’s Liberty Leading the People depicts Liberty striding forward over fallen men. A robust figure, with breast exposed, holds high the French flag. Incarnation of the French Republic reveals her breasts to inspire political feelings of nationalism: the breast becomes a symbol for freedom. During a demonstration, the individual is subsumed by the larger group. However, when the protest is over – is political activism embraced as an ongoing individual practice? How much power does the individual have? At the beginning of the 20^th century, Mary G. Harris Jones, aka Mother Jones, organized marches to highlight the absence of child labor laws and the plight of women workers. When asked about her socio-political organizing work, she replied, “I’m not a humanitarian, I’m a hell-raiser.”

Marching Across Your Lawn, The Grass is on Fire, 2020, hand-sewn human gray hair on black twill fabric, 32″ x 37″

Hand-sewn fiber works are featured in this exhibition. Meza-DesPlas’ embroidery of hair speaks to material culture, its relationship to identity and the sociological meaning of hair. A self-taught fiber artist, she approaches the process of stitching hair from a drawing perspective. Watercolors and a new video piece round out the exhibition. Bleeding watercolors are stained and layered to create figurative forms; the textural application of color conveys fleshy blemishes. These United States, a video piece, begins with a montage: drawings emphasizing the faces of silenced women. A voice-over narration of an evocative mantra accompanies the imagery followed by three stanzas of poetry performed by the artist.

Groundswell, 2020-21, installation with specialty fabric, hand-sewn human hair, watercolor & color pencils, 4′ x 12′

Groundswell #14, 2020, hand-sewn human hair and watercolor on canvas, 24″ x 12″

These United States, 2020, video 3:34, MP4, three still shots from video

Groundswell #1, 2020, hand-sewn human hair on canvas, 16″ x 12″

Featured Image at Top: Artist posing with Jane Marches #1 (left) and Jane Marches #2 (right) Jane Marches #1, 2020, hand-sewn human hair, thread, fabric, appliques, and watercolor washes on unprimed canvas, 60″ x 36″. Jane Marches #2, 2021, hand-sewn human hair, thread, watercolor washes, appliques on unprimed canvas, 62″ x 39.5″.

Sign of the Times at the Fitton Center for Creative Arts

Sign of the Times is a two-person exhibition at the Fitton Center for Creative Arts, August 16 – October 4, 2019. My artworks in this exhibition reflect the theme of gender-based burdens. Gender-based burdens plague women regardless of class, ethnicity, culture, religion, geographical location or sexuality. Within the societal stratification, burdens that impact women disproportionally include poverty, violence and political inequity. This weight hauled by women can have a palpable physical existence or take on a psychological shape of enormous proportions. Many women live day-to-day hindered by gender-based burdens; yet, they continue to persist.

I created wall drawings for this exhibition August 12 – 15, 2019. The title for the series of wall drawings is “You’re Not Angry, You’re Not Paying Attention”. The wall drawing is created with conte and has specialty fabric accents.

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Marks, Strokes, Scribbles: A Survey of Drawings at Fort Lewis College Art Gallery

Marks, Strokes & Scribbles: A Survey of Drawings is an exhibition featuring drawings culled from different bodies of work produced over the past twenty years. Drawing as a medium is an important part of Meza-DesPlas’ studio practice. While drawings can be produced as quick sketches, preliminary drawings for larger works and analytical notations, Meza-DesPlas’ artworks in this exhibition will reflect ‘drawing’ as the end product – in and of itself. This exhibition is comprised of hand-sewn human hair drawings, human hair drawings cast in resin, vinyl applique drawing installations, on-site drawing installations with conte, and mixed media works encompassing a variety of media such as graphite, thread, and specialty fabric.

Meza-DesPlas began to sew with her own hair in 2000. Hair is sorted into various lengths, dyed to emulate an array of values and tones, and threaded through small embroidery needles. It is sewn into canvas, mylar and various art papers. Between the years 2001-2004, Meza-DesPlas achieved a three-dimensional appearance by casting her hair drawings into a 3-layer resin. The utilization of hair as a vehicle for art-making is informed by socio-cultural symbolism, feminism, and religious symbolism. In 2018, she began to create hand-sewn human hair drawings with her gray hair. The Huffington Post Arts & Culture section featured her hand-sewn human hair drawings in 2015.

Meza-DesPlas is known for large drawing installations created on-site. These works created with conte are notable for their loose gestural marks which interweave and vary in density. By 2012 Meza-DesPlas started to experiment with vinyl appliques to create large scale drawing installations. Drawings were created on the vinyl appliques with archival micron pens or liquid graphite. Meza-DesPlas assembled the components, vinyl appliques, together to envisage conceptually on a larger scale. Her drawing installations have been shown at Actuel’Art Lagalerie, Paris, France; CICA Museum, Gimpo-si, Gyeonggi-do, South Korea; LuXun Academy of Fine Arts, Art Gallery, Shenyang, China; and ARC Gallery, Chicago, IL.

In Meza-DesPlas’ hands, drawing, as a traditional medium, has been expounded upon to arrive at non-traditional methods for mark-making. Her studio experimentations yield numerous avenues for what a drawing can be; thereby, the definition of drawing is smudged, erased and redrawn.

Marks, Strokes, Scribbles: A Survey of Drawings continues at Fort Lewis College Art Gallery in Durango, CO until October 10, 2019. Gallery hours are Monday – Thursday, 10:00am – 4:00pm.

Pictured below are images of the wall drawing installation at Fort Lewis College Art Gallery. Normative discontent is a term coined in 1980s about a woman’s dissatisfaction with her body image. The last series I worked on revolved around Audre Lorde’s The Uses of Anger. I showed these works in Brooklyn in February. These artworks explore the concept of anger as a tool for change by juxtaposing found imagery from social media, art history and mass media. My interest was in how social movements, Black Lives Matter, Women’s Marches, Times Up and #MeToo harness anger in order to forefront an array of gender-based burdens. The current artworks including this wall drawing are an extension of the artworks about ‘anger as a tool for change’ They are about ‘agency’ and are inspired by the lyrics of Beyonce’s song Formation (released in 2016). I am researching images of female politicians who are captured in the throes of anger; in particular, I am looking for commonalities in terms of physical gestures and facial expressions. In addition, I am cross-referencing the contemporary social media images with art historical images of women & agency. My interest lies in re-contextualizing the phrase “Ok ladies, now let’s get in formation” into a call for action, a rallying cry, a call to mobilize — a contemporary call for political activism. I was inspired by Rebecca Traister’s book “Good and Mad: The Revolutionary Power of Women’s Anger”, 2018 and “Rage Becomes Her: The Power of Women’s Anger” by Soraya Chemaly, 2018. As a little girl, one is often told, do not yell or do not be angry — it makes you look ugly. The distortion of the face in the throes of anger juxtaposed with the silenced face is of particular interest here.

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Normative Discontent (left side), 9′ x 6′, 2019, wall drawing installation at Fort Lewis College Art Gallery, conte with specialty fabric on wall

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Detail of Normative Discontent (left side), 9′ x 6′, 2019, wall drawing installation at Fort Lewis College Art Gallery, conte with specialty fabric on wall

Normative Discontent (right side), 9′ x 6′, 2019, wall drawing installation at Fort Lewis College Art Gallery, conte with specialty fabric on wall

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Detail of Normative Discontent (right side), 9′ x 6′, 2019, wall drawing installation at Fort Lewis College Art Gallery, conte with specialty fabric on wall

Installation view of Marks Strokes, Scribbles: A Survey of Drawings at Fort Lewis College Art Gallery

Hand-sewn Human Hair Works

Why do I create hand-sewn human hair artworks?

Answer: I started working with my hair after an artist friend suggested the line work in my wall drawings correlated to human hair. She equated the scratchy and undulating lines on the wall to the texture of hair. I was intrigued by the idea of utilizing hair in my art. Time spent experimenting with the medium of hair resulted in trial and error: gluing it to paper was messy and unruly, but sewing allowed me to translate drawing techniques (such as hatching, stippling, and cross-hatching) into stitches.

I have been collecting my hair on a daily basis since 2000. The collection of my hair is a ritualistic activity; I gather it by running my fingers through my hair each morning or by accumulating that which falls out during a shower. Saved hair is stored in plastic bins. Over the years, I have dyed my hair different shades of brown and red to obtain a greater variety of values and tones. There is a meditative quality to sorting hair – as preparatory work – I enjoy the texture of the hair through my fingers. I slide my fingers down its length and create work piles correlating to length.

My first few hair artworks were graphite, color pencil and a touch of hand-sewn human hair. After becoming more confident with sewing the hair, subsequent artworks were completely created with hand-sewn human hair. In 2002 I began to embed my hair artworks into 3-layer resin casts. Some recent works have intertwined hand-sewn human hair with thread and collage. In 2018 I began to create hand-sewn human hair artworks with my gray hair. Through the hair drawings, I am present in every artwork — literally. It is as if I have found the answer to living forever because I live on through my hair drawings …. momento mori.

Sociologist Rose Weitz published a work called Rapunzel’s Daughters: What Women’s Hair Tells Us about Women’s Lives. She examined the hair’s relationship to sexuality, age, race, social class, health, power, and religion. According to Weitz, hair plays a role in our identity because “It is personal, growing directly out of our bodies and on public view for all to see. And it is malleable, allowing us to change it more or less at a whim. As a result, it’s not surprising that we use our hair to project our identity and that others may see hair as a reflection of our identity.” Hair conveys symbolism in literary works such as The Gift of the Magi by O. Henry, The Rape of the Lock by Alexander Pope and Rapunzel by the Brothers Grimm. There are religious connotations to hair which coincide with symbolism reflecting strength, sensuality and reverence: Delila cut off Samson’s hair and Mary Magdalen washed the feet of Jesus with her hair.

My decision to collect and sort my hair to utilize as a vehicle for making art is informed by socio-cultural symbolism, feminism, body image, and religious symbolism. A woman’s hair is laden with sexual meaning; it is her peacock feathers which attract the opposite sex. Long luxurious hair is tossed around in television commercials, it’s shiny and gleaming with health, and it beckons our sense of touch. Cultural emphasis on long hair led to the development of beauty products to keep long tresses smooth and gleaming. Hair becomes important an attribute of our identity. There is an entire commercial industry built upon the need for longer hair, shiny hair, straight hair, curly hair, softer hair, etc…To the body conscious woman, hair is part of her appeal to the opposite sex.

I like the dichotomy of using hair because there’s the idea that hair can be sexy and engaging to people, on the other hand, it can also be repulsive. Consider finding a hair in your soup or a hair on your hotel pillow. When viewer’s see the drawings in person — the drawings beckon the viewer to move in closer. I have seen gallery patrons be impressed with the technique yet repulsed by the material.

“Our encounter with human hair is often a familiar experience. Most people spend time taking care of their hair daily — washing it, cutting it, cleaning it and styling it — making a public and social world around hair. This world can often also get deeply personal through our encounters with intimate body hair and its management or removal in keeping with the trends of the day. Yet, at the same time, hair occupies another secret world which is less talked about. This is the world of hair loss, the realm of hair pieces, wigs and hair extensions, of keeping up appearances and managing people’s anxieties and needs. This realm is revealed in all its complexity in Emma Tarlo’s new book, Entanglement: The Secret Lives of Hair.” – Shannon Philip, https://blogs.lse.ac.uk/lsereviewofbooks/2017/12/08/book-review-entanglement-the-secret-lives-of-hair-by-emma-tarlo/

Click on each image to enlarge. Enjoy!

NCWCA Exhibition F213 (Fahrenheit 213)

Arc Gallery & Studios, 1246 Folsom Street, San Francisco, CA 94103

EXHIBITION: April 13 – May 11, 2019

Saturday, April 27th, 1:30-3:30PM – F213 Curatorial Tour led by Dr. Tanya Augsburg, Lead Curator, F213 Exhibition
Thursday, May 2nd, 6:30-10PM – F213 Writer’s Evening, a book reading organized by F213 Writers
Saturday, May 11th, 12-3PM – F213 Panel Discussion and Closing Reception

Curators
Tanya Augsburg, Ph.D., Professor of Humanities and Liberal Studies, San Francisco State University, lead curator
Karen Gutfreund, co-curator, independent curator/artist
Priscilla Otani, co-curator, owner, Arc Gallery, San Francisco
Sawyer Rose, co-curator, activist artist
Ariana Davi, curatorial apprentice

Artists provide the imagery. Writers respond. Together our voices will be heard. “F213” is short for Fahrenheit 213, one degree above the boiling point of blood. This exhibition brings together nearly 100 national and Bay Area feminist artists and writers who are incensed about what is currently happening in the United States.

San Francisco, December 11, 2018 – Women are rising. In unprecedented numbers and with ever-increasing volume, women are taking their outrage to the streets, to the press, and to the ballot box. As more and more women are openly voicing their fury about state-sanctioned abuses of power, the exhibition F213 spotlights strong and bold artistic expressions of feminist protest.

F213 is short for Fahrenheit 213, one degree above the boiling point of blood. This powerful exhibition by Northern California Women’s Caucus for Art (NCWCA) brings together over 40 national and Bay Area feminist artists who are, in a unique twist, paired with more than 40 writers who are incensed about the current misogyny, discrimination, and loss of hard-won civil rights in the United States, such as reproductive choice, freedom from unlawful detention, protection from police brutality, safety from gun violence, and more.

Curated by NCWCA’s feminist curatorial collective led by Tanya Augsburg, Ph.D., Professor of Humanities and Liberal Studies, San Francisco State University, F213 brings together a diverse and inclusive mix of multicultural, intersectional, multigenerational feminist artists and writers to express their concerns and offer insights to remedy current injustices and atrocities.

Augsburg says, “While we remain hopeful, we reject ‘thoughts and prayers’ as adequate responses to the corruption, cruelty, and discrimination we now experience daily in the U.S. Women, in particular, are past the boiling point and wish to make their voices heard. Artistic expression is our way forward toward social justice.”

Pictured Below: 1) Rosemary Meza-DesPlas with her artwork “What You Whispered, Should Be Screamed”, 2) View of “What You Whispered, Should Be Screamed” along side of Nancy Hom’s artwork “No More Violence Against Asians”. 3) Kadie Salfi’s work “My Mom & Scorpio”, 4) Ester Hernandez discussing her artwork “Sun Mad”. 5) L to R: Sawyer Rose (Co-Curator of F213), Rosemary Meza-DesPlas, Karen Gutfreund (Co-Curator of F213), 6) Rosemary Meza-DesPlas with artist Judy Shintani, 7) Brenda Oelbaum’s artwork “Piss on Me: Trump Toiliet Trio, 8) Rosemary Meza-DesPlas, Ed DesPlas and Co-Curator of F213 Priscilla Otani.

For more information on the exhibition:

https://www.ncwca.org/f213-events.html?fbclid=IwAR1My8UUupnhlCm292Q84JqwyPqGvOFI5jstWmvpeEZ0Bji1yw1KzrwEWVc

https://www.arc-sf.com/f213-ncwca-exhibition.html

Me at exhibit View of art on wall Kathie esther hernandez Karen Sawyer Rose Judy Brenda artwork Priscilla

Exhibitions this Spring

Venues to find my artwork over the next couple of months:
the/magazine Project Space
12 New Mexico Artists to Know Now
1415 W. Alameda St., Santa Fe, NM
March 1 – April 27, 2019

Keep Contemporary
New Contemporary: High Art, Low Art, and Everything in Between
142 Lincoln Ave., Santa Fe, NM
February 22 – March 17, 2019

Clamp Light Studios
Cuerpos Unidos
1704 Blanco Rd., San Antonio, TX
March 8 – 29, 2019
Reception: Friday, March 8th, 7-10pm

Site: Brooklyn Gallery
Birthday Suit
165 7th Street, Brooklyn, NY
March 15 – April 13, 2019
Reception: Friday, March 15, 6-9pm

500X Gallery
40th Anniversary Exhibition
500 Exposition Ave. Dallas, TX
March 16 – April 7, 2019
Reception: Saturday, March 16th, 7-10pm

Brownsville Museum of Fine Art
660 E. Ringgold St. , Brownsville, TX
March 28 – April 27, 2019
Reception: Wednesday, March 27th, 6-9pm

Arc Gallery
Fahrenheit 213
1246 Folsom St., San Francisco, CA
April 13 – May 11, 2019
Reception: Saturday, April 13th, 7-9pm

Waterworks Visual Arts Center
Latinx: El Grupo de los 10
123 East Liberty Street, Salisbury, NC
February 9 – May 18, 2019

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Spoken Word Performance at Amos Eno Gallery

Rosemary Meza-DesPlas, also a spoken word performer, will present her piece titled Intervals of Anger at the opening reception on February 1st. She will perform a poem every fifteen minutes in conjunction with an artwork in the exhibition.

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Solo Exhibit at Amos Eno Gallery

Amos Eno Gallery is pleased to present Jane Anger, an exhibition of new works by Rosemary Meza-DesPlas. Jane Anger features hand-sewn human hair drawings, watercolors and onsite installations. The title refers to a 16^th century pamphlet published in England titled Jane Anger, Her Protection for Women. The exhibition runs until February 24th at the gallery’s location at 56 Bogart Street in Brooklyn, NY. D739D15F-7DD1-40B7-97BC-27989746F35F IMG_1129 (1) B292599B-E661-4EC0-981D-45E80929A92B

“Every woman has a well-stocked arsenal of anger potentially useful against those oppressions, personal and institutional, which brought that anger into being.” –Audre Lourde

Meza-DesPlas explores the concept of anger as a tool for change by juxtaposing found imagery from social media, art history and mass media. She is interested in how the social movements, Women’s Marches and #MeToo, harnessed anger in order to forefront an array of gender-based burdens.

This exhibition includes Meza-DesPlas’ most recent drawings which incorporate her gray hair. She has been sewing with her own hair since 2000. Her hair is hand-sewn into a variety of grounds with small embroidery needles. Meza-DesPlas’ decision to collect, sort and utilize hair as a vehicle for art-making is informed by socio-cultural symbolism, feminism and body issues, and religious symbolism.

Note on Floor Installation:

These Boots Are Gonna Walk All Over You, 2018

Gallery visitors are encouraged to walk on the vinyl floor applique. This floor piece, comprised of abstract portraits, depicts various men accused of sexual harassment, assault, and/or misconduct. To walk all over someone means –

Treat them with contempt
To treat someone badly
To disrespect
To dominate a person
To make someone feel inferior

While a small gesture, walking over these perpetrators can provide a sense of empowerment. As you walk across the floor applique, contemplate your personal experiences with sexual harassment, assault, and/or misconduct.

Conversations * Self-reflection * Accountability * Social Transformation