Hedges and Houses and Mothers and Children

Curated by Pennylane Shen 


Aurora Abzug, Diedre Argyle, Cassie Arnold, Wesley Bell Miller, Jack Bishop, Twiggy Boyer, Mills Brown, Nate Burbeck, Candace Compton Pappas, Robin Crofut-Brittingham, Sarah Detweiler, Benjamin Duke, Amy J. Dyck, Ari Eshoo, Michelle Fleck, Zo Frampton, Cara Guri, Deborah Hamon, Kate Harding, Julie Himel, Mary Janacek, Melanie Johnson, Lindsey Kapoor, Tetana Kellner, Kelly Kirkham, Amber Koprin, Michele Landel, Katia Lifshin, Jessica Matier, Lynne McDaniel, Sara Minsky, Imogen Morris, Stephen Morrison, Sarah Nelson, Laura Rosengren, Jess Self, Lucy Sharf, Leslie Lewis Sigler, Jane-Anita Smith, Emily Somoskey, Camilla Taylor, Amanda Walker, Devon Walz, Xiao Wang, Shirley Wiebe.


“Becoming once more under the power of that vision which she had seen clearly once and must now grope for among hedges and houses and mothers and children--her picture. It was a question, she remembered, how to connect this mass on the right hand with that on the left.... But the danger was that by doing that the unity of the whole might be broken.”

To the Lighthouse, Virginia Woolf 1927 


What an honour it has been curating this fourth I Like Your Work exhibition. And what a tremendous challenge it was to select only 45 pieces from approximately 700 artists. The level of quality was truly remarkable and unlike any other juried exhibition I’ve participated in before. 

The further challenge was then to discern a theme by which to understand the variety of works represented. Finding it difficult to bring together these beautiful individual pieces—each a world unto itself—I was reminded of a similar obstacle faced by the character Lily Briscoe from Virginia Woolf’s famous novel To the Lighthouse. Lily searches for a “unity of the whole” to finalize her painting and realize her vision.

And thus I had stumbled upon my own unifying source: Woolf’s classic novel itself, whose three distinct sections—“The Window,” “Time Passes,” and “The Lighthouse”—offered me a way to frame the exhibit selections as well as represent issues close to my heart.

To the Lighthouse follows members of the Ramsey family at three phases of their lives together: first: vacationing in the Hebrides Islands living a relatively idyllic, if still fraught, pre-World War I existence; second: in the city, during the war in a time of profound, violent change and irrevocable loss; third: in the wake of tragedy, returning to the family vacation home in order to set out to the lighthouse for the first and likely final time. 

The exhibition “Hedges and Houses and Mothers and Children” is guided by Woolf’s novel’s three-part structure and by its devotion to the power of beauty in all its forms to wrest meaning from chaos, be that beauty simple or profound, quotidian or transcendent. The guiding spirit here is of course the lighthouse, a literal beacon but figure of every searcher’s desire. Its illumination is a perfection unattainable, but nevertheless we persist in our attempt to emerge from shadow into light.


"Well, we must wait for the future to show," said Mr. Bankes, coming in from the terrace.

"It's almost too dark to see," said Andrew, coming up from the beach.

"One can hardly tell which is the sea and which is the land," said Prue.

"Do we leave that light burning?" said Lily

You can view the virtual exhibition on Dazed and Confucius's website here.

part 1: the window

The works in this room speak to the first section of the novel, arriving at the vacation home, the fleetingness of leisure, the quaintness of quiet life.  

Equally, they probe the quotidian searching for harmony through gathering with loved ones, family and friends—harmony is found in something as simple as Mrs Ramsey’s fruit bowl, which the novel describes in incredible detail. Similarly, the youngest son James beholds the distant lighthouse as an unmoveable beacon of adventure and hope, inaccessible and enchanting. The works here are windows onto worlds of these desires—some realized and some not.

Michelle Fleck
Acrylic on Panel 20" x 24"
Robin Crofut-Brittingham
Hunt, Gather
Watercolor on Paper
45"x 45" 2019
Wesley Bell-Miller
Communications From My Mother II
Acrylic on Canvas
24in x 20in2020
Nate Burbeck
Grapevine, Texas
oil on canvas, 24" x 40"
Candace Compton Pappas
Stay At Home
acrylic, oils on chipboard 70" x 70"
Jack Bishop
oil and acrylic on canvas 48x60"
Xiao	Wang
Thin Ice
oil on canvas, 44"x58"
Devon Walz
Somewhere I'd Rather Be acrylic on canvas
40" x 30" 2020
Twiggy Boyer
Sitting on top of the world Mixed Media Collage 14"x11" 2020
Laura Rosengren
Acrylic and Oil on panel 24" x 30" 2020
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Sarah Nelson
Warthog and Mongoose Pen and Marker
22"x30" 2019
Julie Himel
Reach and Root
mixed media on canvas 30 x 24" 2020
Leslie Lewis Sigler
The Oracle
Oil on panel
40x40" 2020
Aurora Abzug
oil on canvas 36" x 48" 2018
Cara Guri
Oil on Panel
24.25"x28" 2020
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The second book of To the Lighthouse stands in contrast to the vital and spirited human world of Part 1. Instead of light, there is darkness. Instead of the simple but profound moment, there is the passing of time with the decay that attends this longer temporal dimension. In the time and place that Woolf responds to, there is also the death and destruction wrought by war and the prevailing sense of the unknown, which she represents through the slow disintegration of the once magnificent Ramsey vacation home.

While the pieces in this room do not necessarily trace such literal violence, to me, they show a keen awareness of all-too-relevant current issues of isolation, social unrest, and economic anxiety—concerns expressed through the depiction of time’s paradoxical speeding slowness, and through a grappling for meaning in the dark.

Lucy Sharf
15 x10 cm
Lynne McDaniel
The Anxiety Project
oil and thread on paper
8 x 8" each 2018-ongoing
Cassie Arnold
Hand knit Merino wool, copper wire and pine 12" x 13" x 4" 2020
Lindsey Kapoor
Daily Ritual
used tea bags
29" X 20" X 3.5" 2020
Sara  Minsky
What Remains For Now #1 Archival pigment print 10"x18" 2020
Tatana Kellner
acrylic on paper
56" x 45" 2020
Amy J. Dyck
Oil on board
44 inches diameter 2020
Amanda Walker
Put On A Happy Face colored pencil, watercolor 30"x 22" 2018
Melanie Johnson
Forest Dark 2
Charcoal on Arches 92" x 156" 2019
Zo Frampton
Now this is a pod! W/B Ink & Acrylic on Clayboard 36x36" 2020
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Deidre Argyle
Porcelain, thread, steel 6'W x 3'D x 12'H2018
Emily Somoskey
Oil and collaged digital prints on canvas 84"x96" 2020
Kelly Kirkham
Standing Over
Graphite pencil on paper 22" x 30" 2020
Benjamin	Duke
Care Structure
70 x 96 2020
Mary Janacek
The Thirtieth of May Two Thousand Twenty in Las Vegas
Watercolor, cardboard, glue, and paper
18 x 18 inches 2020
Amber Koprin
On the Side of the House Gouache
4" x 4" 2020
Camilla Taylor
One to the Other Ceramic with underglaze 3.75" x 15" x 14" 2019
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part 3 : The Lighthouse


This final exhibition room takes its cues from the concluding section of Woolf’s novel, which sees the Ramseys once more in the Hebrides house but a decade after the war. The children, now adults, at last journey to the lighthouse. Ultimately, the destination that gives Woolf her title is a symbol whose meaning is both elusive and excessive, unattainable even as it is reached.

Here there is an attempt to reconcile with the past; to make different sense of once-powerful symbols whose significance has shifted. In the closing moments of the novel, artist Lily Briscoe finally finishes the commissioned painting of the Ramsey family she had begun over a decade ago, before everything changed. Her conclusion, and also Woolf’s, is a powerful reminder to be persistent in the pursuit artistic truth—notably in the face of adversity and convention. 

Jess	Self
Needle-Felted Wool, Sewing Machine Thread 14x16x26in (LxWxH) 2019
Sarah Detweiler
The Hidden Mother (Behind the Smile)”
Acrylic and embroidery thread on canvas
20”x 20”
Jayne-Anita Smith
Deep Freeze
Acrylic and oil
120 x 90 cm 2019
Imogen Morris
Self Portrait
Thread, nails on wood 60x40x2cm 2020
Kate	Harding
Finally and Ever Since Oil, acrylic, digital embroidery and gesso on linen on panel
40" x 36" 2019
Jessica Matier
The Descent of Every Leaf Mixed Media
30" x 24" 2017
Mills	Brown
Green Chair
Acrylic, flashe and collage on canvas
24"x36" 2019
Katia Lifshin
Sunny Day
oil on canvas
110x110 cm 2020
Stephen Morrison
Happy Boy Noodle Shop Epoxy clay, rubber, wood, fabric, steel
43x30.5x29 Äù 2019
Ari Eshoo
Small Hands
Cottin, yarn
19" x 22" 2019
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Michele Landel
For There She Was #3 paper, fabric and thread 11.7w x 8.3h inches 2019
Deborah Hamon
Acrylic on Canvas
72 x 60 2020
Shirley Wiebe
Horizon Reflection
Mixed media, stitching
8 x 8 inches 2019
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