Delbar Azari employs a diverse range of reflective, transparent, and translucent materials to craft compositions that are both dynamic and mesmerizing. Each piece is designed to interact with ambient light and the viewer’s perspective.

This is a trans-temporal dialoge with French colonial photographer Pierre Tacher, questioning the context and intentions of his work and other historical documents. I have extracted his portraits of Senegalese people from 1908-1912 and inserted them into my architectural photos of Senegal in 2016.

Patti Smith performs onstage at the Palladium in New York City in May, 1978.

Human migration has been a constant since our ancestors first walked out of Africa. This piece is part of an ongoing series exploring the displacement of people worldwide. Today, more people are on the move than ever before. Forced from their homes by hunger, climate change, natural disasters, political oppression, and war. How we respond defines our humanity.

This series, Touching Earth, explores the holistic and harmonious relationship between human beings and the natural world. In a time when technology threatens to devour our connection to Mother Earth, this series is a conversation, a dance, if you will, that realigns our entwined interconnectedness. The photographs alone create a dreamy, soft symbiosis between (wo)man and nature.

Omoide means “memories” in Japanese. My kimono, a gift from my parents for Seijinshiki, the Coming of Age Day in Japan, evokes cherished memories.

Portrait of a woman emerging from her past with resilience,drawing strength from her maternal lineage.

White Zip provokes through use of materials. A tactile textile, it communicates female bodily and emotional experience through tactility, layering of textures, implication and association. What must we keep zipped up, and what can we reveal? Is concealment another way to reveal, and vice versa?

Healing Hands depicts a maternal ancestor weaving love, wisdom and protection into a descendant’s braid, surrounded by symbols of protection and ancestral presence. Motherhood is shown as going beyond the immediate mother-child relationship or even a grandmother to include the generations to come.

Forward Into Light was a slogan of the US suffragettes fighting for the 19th Amendment. The figure in this painting is wearing a bow featuring the colors affiliated with the movement. This work signifies the sacrifice and bravery of these women who are always with us, seen or unseen.

I painted Portrait of Chey alla prima - “At the first attempt.” The model, Cheyann Washington, is also a Los Angeles-based artist. Through impressionistic realism, I hoped to capture her creative essence and convey a timeless visual story between painter, subject and viewer.

Alice Neel struggled against male dominated art world & expectations for women of her time. Photo transfer prints on rice paper, layered on 1930 book pages “The Girl Today, The Woman Tomorrow” show ideas of women’s place in work/society. Background inspired by blue stripe chair in her portraits.

My name is Patricia Fortlage and I am a documentary and fine art photographer. My goal is to create work that moves people and inspires change, especially for women.

I was delighted to visit a dance studio in Havana. I was incredibly impressed and moved by the intensity of the dancers. You could feel how dedicated and inspired they were by what they were feeling and communicating.

This piece explores the idea of made phrases and labor through an imagined space. This feminine figure is awaiting her next role. Is it a violent reaction, a rushed response or a concealed threat?

Changing one’s mindset is difficult when traditions like gender norms are ingrained. Women often unconsciously impose restrictions on themselves, shaped by these expectations. The floral pattern, inspired by traditional kimono designs, symbolizes how she adapts these traditions in her own way.

Eurasian Blackbird perched inside a niche from a 15th-century Italian church.

Punk music in Los Angeles was not white skinhead boy bands from Orange County. The original scene in late 1970s Los Angeles was diverse, just like the City of Angels. And Los Angeles had its Punk Angels.

Young African mother draped in Motherland fabrics holds her son as he looks up into her warm face; the other son looks upon her as his hand embraces her hand. The Sunflower symbolizes the sun, truth, and light. Her flowing robe reveals the universe. A Mother’s Love is all-encompassing and universal.

Smaller pays homage to the women impacted by unrealistic beauty standards. This piece aims to bring attention to the societal pressures that distort self-perception.

This image comments on the passage of time and the depth to be found in experience, as the plants go to seed, then wither and die. Women are most often judged on youth and beauty; this shows the beauty beyond the first bloom.

The Shoulders We Stand On is about acknowledging and building on the work of those women who came before us to make progress. The influence and impact of the previous generations are what create the future, and it is important to reflect as we look forward.

This work is inspired by Margaret Atwood’s dystopian novel Oryx and Crake. Each species in this series of botanical charcoal drawings is re-named for a survivor in the book. The subjects are in a state of metamorphosis, some dying, some becoming anthropomorphic. They must adapt to survive.

The work originates from a series of Polaroid SX70 self-portraits taken daily from 1979 to late 1987. The series began during a difficult time in my life. The 20” x 24” size of the print honors the Polaroid 20” x 24” camera.

One in a series of photographs of women at work. (Laguna Hills, California).

To make sense of our often-senseless world, I fuse eclectic influences. Born into a family of cartoonists, I became a theatre director. My lifelong commitment is to the power of storytelling to confer and challenge meaning. I work in multiple mediums - both performance and visual arts - but with a consistent purpose: to examine contemporary issues using unexpected references to create a record of our time.

Palace examines the construction and reimagination of gender narratives through visual representation. The project draws inspiration from the traditional Chinese saying “女人不可登大雅之堂”—which translates to “A woman does not belong in the halls of power.” This phrase reflects a long-standing history of women being confined to passive roles, in society and in artistic traditions.

Where do I begin with my mom. This is a portrait of her on the left. On the right a memory quilt: a quilt made out of cut up dance outfits, curtains, my sister’s homecoming dress, my father’s work shirt, etc. She never finished it, which is fitting. She passed away ona stormy summer afternoon.

Speakeasy Beauty was shot in Italy. Part of an exploration of the nude in classic form with a nod to the early 20^th-Century aesthetics.

From Series using strategy of portraiture to examine conditions, emotions, and events as experienced and lived. Rather than capture a single person, the portraits seek to portray topics such as adolescent vulnerability and humanity’s ever-evolving understanding of nature in the contemporary world.

Lauren Mendelsohn-Bass takes the viewer on a journey through the word of superficial reality where artificially alluring and nostalgically innocent context marks darker thought, ideas, and actions. Playing on the visual tropes of mass marketing and vintage advertisements, her work explores the ways reality is obscured when presented as ostensibly attractive.

A riff on an anime titled by the same name. Ghosts, monsters and pumpkins greet the view through a tangle of fabric scraps and party trash. Like much of my work, this piece is made with the trash of life and parenting and channeling meaningful reuse to combat climate anxiety.

I met this beautiful cousin of my husband at a family reunion. When she walked into the room, I knew immediately I must paint her. Her hair, jewelry, and style were unique and confident. She is not concerned with traditional beauty standards. She glows in the Golden Life!

An inverted bell curve trisects me at its mean and standard deviations (marked by blood vials) as an immigrant girl (unsuccessfully) trying to decode and fit into “normal” or “average.” Ultra-thin feeler gauge blades etched with private, emotionally expressive words form my trapped brain gyri.

This beautifully captures a serene moment, radiating a sense of inner peace that is truly inspiring. The peaceful depiction of the strong female soul creates a powerful feeling of liberation, symbolizing an empowering presence that uplifts those around her.

This textile piece is part of a larger body of work exploring my experience with endometriosis, a debilitating disease that affects up to 10% of women and people with uteruses in the U.S. but is severely underdiagnosed due to medical misogyny.

My images are manifestations reflecting the sum of my reality: some are internal, elusive and suggestive while others are external, dynamic and engaged.

At the end of 1978 when the Revolution in Iran started, the Baha’is of Iran have been mobbed, hanged, beaten, disappeared and presumed dead or executed by firing squad. This print is to bring awareness to their plight, struggle for human rights, and stand up for their peaceful beliefs.

This piece aims to acknowledge an irony that many women will recognize—that so many of the things in a woman’s life that are designed to honor and protect her turn out to be handcuffed in their own way.

Each of the Flower Prayer Series Drawings is a single prayer. This began during the pandemic, I turned to making these as a response to the rise of darkness in our world. I interact with the uncontrollable pools of watercolor and salt against the control of the pencil. I enact with beauty and the uncertain.

Two of 12 panels (14” x 14” ea) commemorating the thousands of Suffragists who marched into Washington D.C. in 1913 to fight for a woman’s right to vote. Each panel represents a flower from the home state or nation of an individual marcher, all of whom wore white in solidarity; sold as a set.

My ancestors read the stars (fetuâ u) as guides across the moana. Hala Fetuâ u is about that instinct, moving between worlds, claiming space, and finding home. Ngatu records lineage, transforming LA into something sacred. I stand at the center in motion.

VulnAs explores the wounds of menstruating bodies and their remarkable ability to regenerate. Using the visual language of still life, the series reclaims the female body—historically treated as a war-torn landscape—as a site of healing and transformation.

Maud merges tattooed resilience with botanical surrealism, offering a bold portrayal of feminine power and transformation. The piece confronts an unapologetic celebration of unconventional feminine identity.

Using both traditional and improvisational quilting techniques, this is part of an ongoing series of sewn textile paintings that have a genesis in the traditions of women’s work while also breaking the rules of quilting.