“As an advantaged member of a disadvantaged group, I’ve lived my life on the rim – a dialectically privileged location that’s helped keep my political awareness acute. But the main reason my art is ‘political’ is probably that anger is my most productive emotion.”
-Lorraine O’Grady, in Arlene Raven, Cassandra Langer, Joanna Frueh, eds., Feminist Art Criticism (1988)

An emotional tapestry that invites you to briefly share the life long torment of genital mutilation still forced upon many young girls around the world.

With Audre Lorde acting as both subject and surrogate, All That is Left Unsaid is a daughter’s elegy for her mother.

A wry comedy on the ironic aspects of menstruation where women act out their own dramas on a California hillside, in a supermarket, in a red-filtered ritual of mutual bonding. Menses combines both the imagery and the politics of menstruation in a fine blend of comedy and drama.

This intimate film portrait explores how one Jewish Orthodox woman became a contemporary feminist artist. Aylon’s life literally transforms, due to several factors, not the least of which was the feminist movement of the seventies. Still an active artist today at 84, Helène Aylon was raised in Borough Park, Brooklyn, a traditional Orthodox Jewish community. Aylon

the motion of the heart and blood is an experimental archive of discarded medical texts assembled in hand bound books and accompanied by abstract animation sequences. An on-going project based off research into the sociological history of medicine and the politics of marginalized bodies within that history, the motion of the heart and blood  specifically

Penetrating the man, filling up the void inside him.

In his poem Epirrhema, Goethe addresses the reader: You must, when contemplating nature // Attend to this, in each and every feature: // There’s nought outside and nought within; // For she is inside out and outside in. // Thus will you grasp, with no delay, // The holy secret, clear as day. This fairy