An excerpt from a blog co-written with Now + There Curator Leah Triplett Harrington after visiting Prospect 5, New Orleans.

Prospect New Orleans, a triennial citywide contemporary art exhibition and the young, scrappy American cousin to more established European exhibitions like documenta and Skulptur Projeckte, recently wrapped its fifth iteration with an exhibition as in flux as these pandemic times.

“Yesterday We Said Tomorrow” was all about the future. As we traversed New Orleans East to Tremé to Bywater and Uptown, the most powerful work we encountered acknowledged the traumas of the past while heralding new futures.

Exploring NOLA by way of the exhibition’s map, we saw how Los Angeles-based curators and Prospect’s co-artistic directors, Diana Nawi and Naomi J. Keith, collaged artists, artworks, and institutions. Their approach was less conductor, more jazz improvisation, embracing the possibilities of unexpected juxtapositions of site context and artistic voice.

At long last, my “In The Studio” video interview with Brian Hone for the Isabella Steward Gardner’s Museum’s program. In The Studio is a series of videos that take you into the studios and workspaces of artists who call Boston home. I’m honored to follow Silvia Lopez Chavez, Hana Quon, Rayna Lo, Clint Baclawski, Stephen Hamilton, Christian Restrepo, and Maria Finkelmeier.

I’m comfortable being a Sunday sculptor.

It’s a cathartic hobby. In the same way a weekend warrior depends on [insert extreme sport here] to stay sane, my studio practice enables me to show up as my best self for family, friends, and colleagues. Studio Sundays, or stolen studio mornings before work, are my rudder. Without them, I’m one cranky, anxious bitch.

I made a decision eight years ago not to make studio work my sole pursuit. I could have done it. Life availed herself, beckoning me to swim in the ocean of pure unfettered creativity. But that felt frivolous and lonely.