Crit Group Crew Mentors

The mentors listed on this page are for our Crit Group Crew program. Our Crit Group Crew program places you in a group of 3-4 women plus a mentor. Your group meets over 3 months, providing an intimate network of accountability and encouragement to each other. Sign ups are limited to 2x a year.

Please be sure to browse every mentor! After purchasing your spot in our program, you will receive an email response (check your trash or spam!) with instructions for you to submit your mentor choices to us. We cannot guarantee which mentor you will be paired with but we will absolutely do our best to accommodate your desire to work with the mentor of your choice!

It is a not a requirement, or necessarily a suggestion that you are paired with a mentor who works in the same medium as you. Each of these mentors are capable and skilled in dialoguing about any kind of art, and there is much to be gained from being partnered with someone outside of your comfort zone!

You are not required to be with a mentor who lives in your time zone, though it sometimes helps with scheduling meeting times to have one in a more similar time zone if possible.


“I base my critique style on my understanding of what the artist is hoping to get from me, whether it’s challenging, constructive criticism, gentle encouraging feedback, or whole-hearted cheerleading – or all three in turn. Because none of us makes art in a historyless vacuum, I see every part of art-making as meaningful and related to the context it exists in.

In critiques, I often encourage the artist to consider the meaning visible in the work itself and explore how that relates to the meaning they intended for it. I love getting to know and supporting other artists, and am thrilled by this opportunity to be a part of an intimate community that isn’t hindered by physical geography!”
Special Focus: Painting; creating and participating in art communities; exploring content and conceptual relationships; career development; residencies; curating; writing

Susanna’s website

Time Zone: Pacific

The Spot in Ferguson where Michael Brown Lived and was Murdered by Police, and Where I Met John (Of Whales in Paint; in Teeth; in Wood; in Sheet-Iron; in Stone; in Mountains; in Stars), 2020, oil and acrylic on canvas, 94 x 72 inches.

Susanna Bluhm is a queer landscape-based artist who makes semi-abstract paintings. Raised in Los Angeles, she earned her BA in Studio Art from Humboldt State University and her MFA in Painting from the University of Illinois at Urbana-Champaign. She was the 2014 recipient of the Neddy Artist Award in Painting, and has been an artist-in-residence at the Irish Museum of Modern Art in Dublin, and the Karl Hofer Gesellschaft in Berlin. Her work has been shown in solo shows in galleries in Seattle, San Francisco, New York, and Washington, D.C., and featured in Art in America, Two Coats of Paint, and New American Paintings. She was a member of SOIL artist-run gallery for five years, and is currently represented by J. Rinehart gallery in Seattle. 

Bluhm is currently working on a project called Red Country in which she is making paintings about her experiences in “red” states. She lives in Seattle with her wife and twelve-year-old son.


“My critique style is a mix of stream of consciousness reactions and carefully considered questions. I love to connect with other artists, hear about their art practice and journey, and gently nudge them forward on their own path. My goal is to help you to ask yourself better questions and support you in finding your own answers. To do this, I draw on my years of experience teaching at a university, participating in mastermind groups for entrepreneurs and artists, and the examples set by the mentors and teachers that I have had in my life.”

Special Focus: Mixed media, collage, fiber, writing, professional practice, building a body of work, feminist theory, motherhood, connecting to others, drinking coffee, and laughing.

Michele’s website

Time Zone: Central European Standard

Who’s Afraid? 2019, second hand bed sheets, found photograph, and thread, size varies

Michele Landel creates intensely textured and airy collages using burned, quilted, and embroidered photographs, fabric, and paper to explore the themes of exposure, absence, and memory. Michele is an American artist who holds degrees in Fine Arts and Art History. Her work has been exhibited throughout Europe and the US and appears in The Collage Ideas Book. Michele lives with her French American husband and three children in Sèvres, France and works out of her art studio in the Paris 9th arrondissement. She is currently represented by the Jen Tough Gallery in Santa Fe, NM and the Muriel Guepin Gallery in NYC, NY.


“Having traveled my own challenging and circulatous road to being a self employed artist, I love being able to work with artists to help them build sustainable practices. My goal is to help you make art a consistent and energizing part of your life. I am encouraging, warm, and full of ideas. I am a painter and use collage processes and techniques to assemble and create my abstract work.

I also integrate printmaking, photography, and installation art practices into my art making. Teaching and mentoring are an important part of my art practice. I have a 9-year old daughter from my first marriage and am recently remarried. In 2015, both of my parents were diagnosed with early onset dementia and I became their sole caretaker.  My father died in 2020, but my mom is still ‘here’ and making up wild, and wonderful stories to fill in all the gaps that Alzheimer’s has left behind.”

Special Focus: Mixed media, collage, painting, color, abstraction, writing, professional practice, showing up, building a body of work

Erin’s website

Time Zone: Pacific

“Aggregate” from January 2020, 144 4×4 collages made of found and painted paper on panels. 72 x 72 x .25 inches (as installed) 

California artist Erin McCluskey Wheeler works in paper (found, painted, printed, and cut) to create abstract graphic collage art. In her work, Erin associates landscapes and colors with people in her life and while the work is abstract and open ended, it comes from a place of personal symbolism and meaning. Erin has a dual BA in studio art and art history from Beloit College, and an MFA in writing from California College of the Arts. Erin is a represented artist with Jen Tough Gallery and Roaring Artist Gallery. Reproductions of Erin’s artwork are licensed and sold through West Elm, Samsung, and Minted. Erin teaches collage and mixed media classes and runs small group and private art study groups for her continuing students. In 2018-2019, she was the Artist in Residence for the El Cerrito Recycling Center and has been a frequent guest curator at NIAD Art Center. Erin is a founding member of the collaborative collage group, The Collage Stop (@thecollagestop), a national group that creates in person and distance art engagements with collage to create connection and build community.


My goal as a critique mentor is to help participants find, or solidify, passion in their art practice through their material choices and subject matter. We will explore sustainable ways participants can balance both play and rigor in their studio practice to avoid burnout and stay satisfied with their work. As a group we will talk about “doing what you know”, or in other words, committing to acquiring a deep knowledge and understanding of subject matter in a way that holds your creative interest. Through critique we will work together to encourage confident visual language and foster a space for open and constructive feedback and exploration.

Special Focus: Ceramics, sculpture, maternal art themes and research, Art & Craft education/dialogue, completing a degree while pregnant, strategies for overcoming networking obstacles (ie introversion/rural living), good listener.

Mya’s website

Time Zone: Mountain

Mya lives in the small town of Belgrade, Montana, though originally an Oregon native. She moved to Montana in 2017 to immerse herself in the rich clay culture found in the Big Sky state. A mother of two children, Mya is intrigued with the psychological, political and interpersonal ramifications of the maternal experience, and uses her own experience and the experiences of her peers to inform her work. She also draws much inspiration from written accounts on Motherhood, feminist literature, and folklore. Mya has been included in many group exhibitions in the US, and has also shown internationally with Spilt Milk Gallery in Edinburgh, Scotland. Currently she is preparing for her first solo show to debut in the summer of 2021. She received her BFA from the Oregon College of Art and Craft in Portland, Oregon, and has completed a short term residency at the Red Lodge Clay Center in Red Lodge, Montana.


My critique style focuses on the goals you want to achieve, whether that’s working through a recurring struggle, exploring a new medium, or creating more ambitious work. I encourage all artists to adopt habits that will benefit their practice, including creating and maintaining an updated portfolio and resume, work-life balance, and incorporating writing for your art as a regular routine. I believe in being honest and without being overly critical and in providing feedback that is concrete and actionable.  

Special Focus: Printmaking and mixed media works on paper, casual conversation with honest and actionable feedback, best practices from an art administration perspective

Chloe’s website

Time Zone: Eastern

“Something to Believe In,” 2020, Reduction Silkscreen Print on Legion Stonehenge, 15″ x 22″ 

Chloe Alexander is a mixed-media visual artist living and working in Atlanta, Georgia. She obtained a BFA in Printmaking in 2010 and an MEd in 2014, both from Georgia State University and currently works with printmaking and print-based media. Her most recent work layers various printmaking techniques to create one of a kind, mixed-media drawings that are meant to evoke a sense of nostalgia.  She is knowledgeable in several printmaking processes but utilizes silkscreen and monoprint most often in her own practice. Chloe’s work has been exhibited across the US and internationally, including at Prizm Art Fair in Miami, FL, and the Etch/Ink Gallery at the Athens Printmaking Center in Athens, Greece. Most recently, she was awarded a 2020-2022 artist fellowship with The Creatives Project in Atlanta. In addition to her personal art practice, Chloe is the mother of two boys, aged 9 and 14, and works as a high school Art instructor. 


“My critique style is based on establishing a relationship and understanding the needs of
each individual participant. The key for me is being empathetic and taking in consideration how all our experiences as women inform our practices. In the group I would be interested in finding mutual threads that can enrich our singular works.

I draw on my experience as a counsellor and art therapist working with groups and seeing how our internal worlds are reflected in our image making. I inspire to create a secure setting where every participant feels confident to raise any issue which is affecting their work.”

Special Focus: craft techniques, tufting, embroidery, folklore, the unconscious in visual art, group sharing, encouragement, support and setting goals.

Anna’s website

Time Zone: London, Greenwich Mean Time

Seven Wives Performance

Anna Perach (1985, USSR) is a Ukrainian born Israeli artist living and working in London, UK. She holds an MFA in fine art (distinction) from Goldsmiths, University of London (2020). She has exhibited internationally at galleries including: White Cube gallery, London, UK, Live Works, Centrale Feis, Italy, Saatchi Gallery. London, UK and Larsen Warner gallery in Stockholm, Sweden. In 2020 she was a finalist at the Birth Rites Collection Biennial Competition for New Works and The Ingram Prize. Anna also received a grant for the production of new work from Procreate Project via the Arts Council England. Recent publications include Floorr Magazine and Calvert Journal.


“My work is an investigation into social identity and what it means to expand beyond the limits placed either by society or even myself.  I seek to include the power of quiet as part of that identity in order to expand upon and include all aspects of what it means to be human by using a multi-disciplinary approach.”

Special Focus: Photography, performance, video, data or technologically driven practice, installation, solo exhibition preparations, research

Sarah’s website

Time Zone:

Archival pigment print  (Performance documented through photography)

Sudhoff is a visual artist, educator and former photo editor for Texas Monthly and Time magazines. She is the former Executive Director for the Texas Photographic Society and the former Executive Director of Houston Center for Photography and owner of Capsule Gallery in Houston. Sudhoff holds an M.F.A. in Photography from Parsons School of Design, New York, and a B.A. in Journalism and Photography from the University of Texas at Austin. She taught photography at Stephen F. Austin State University, Nacogdoches, Trinity University, San Antonio and the Art Institute of San Antonio.

Sudhoff’s work interweaves themes of gender, science, and personal experience through photographs —staged and found — as well as through performance, installation, and sculpture. Artist grants from Houston Arts Alliance (2020, 2019 & 2017) and The Louis Comfort Tiffany Foundation (2013) have furthered her career. Her artwork has been included in exhibitions throughout the U.S. and abroad, including recent and upcoming exhibitions and performances at The DoSeum, San Antonio; Filter Photo, Chicago; PhotoPlace Gallery, Middlebury; The Pandemic Archive, New York; grayDuck Gallery, Austin; Center for Fine Art Photography, Fort Collins, Health Museum Houston, Houston; Colorado Photographic Arts Center, Denver; Texas Vignette, Dallas; Satellite Art Show, Austin; Experimental Action, Houston; Cindy Lisica Gallery, Houston; Galveston Arts Center, Galveston; Pioneer Works, Brooklyn; grayDuck Gallery, Austin; Filter Photo, Chicago; Roots & Culture, Chicago; and the DongGang International Photo Festival in South Korea. She has participated in artist residencies at Artpace, San Antonio, the Kinsey Institute for Research in Sex, Gender and Reproduction, Bloomington, IN and is the current Artist-in-Residence at The DoSeum in San Antonio, Texas.


Starting by overcoming the cultural rejections and misrepresentation of women’s professional abilities during pregnancy and beyond, I have been following the practices and mentoring many international artists across disciplines and walks of life. I am a listener as much as an instigator. I think collectively and I have made of my beliefs an international movement for social change and women’s rights advocacy. With the same drive, and integrating somatic and creative approaches,  I will work with you to overcome and reframe internal, external and systemic barriers. We will challenge and nurture each other, for an individual and collective development.  I can also advise on funding applications, branding, websites, and online visibility. 

Special Focus: performance, material driven and process-focused practices, somatic approach to studio time and embodied making, motherhood, gender and feminism, self development linked to professional practice
Dyana is also fluent in Spanish and Italian. 

Dyana’s website

Time Zone:
Greenwich Mean Time

‘Repetto’, Video still performance on camera.
Studio practice at ]performance s p a c e[, summer 2019. 

I am an artist, activist, art producer and doula. I am the founder and creative director of Procreate Project, a visionary and pioneering arts organisation supporting contemporary artists who are mothers. Over the past seven years, I have created an ever-growing network of artists and supporters, demonstrating the need for new approaches and infrastructures both for artists and the cultural industries.
I have been providing new references for models that can inspire a sea-change across sectors; integrate ways we perceive and balance the private, the domestic and the public, as well as the perception and normalization of women’s artistic output as part of the cultural and social landscape.
I have worked for over 12 years in the entertainment industry, events and the contemporary arts. Some of the recent platforms I have been leading and curating include Mother Art Prize [2017-18-19-20] with the contribution of Whitechapel Gallery, Tate Modern, Frieze London, AWITA, Zabludowicz Collection, Create London, Elephant magazine and Mimosa House; Oxytocin 1st edition [2017] organised at the Royal College of Art; Oxytocin 2nd edition [March 2019] hosted and supported by Kings College London Guy’s Campus and Arts Council England; Left Overs Exhibition [2017] presented at 198 Contemporary Arts and Learning; Foetus, new media performance [2015/2017] shown at RichMix and Leyden Gallery; Zines archive featuring 130 artists [2015/16.17] displayed at Goldsmiths University, LSBU, Lace Gallery Nottingham, Manhattan College.
In this framework, I am also been developing my practice as a performance artist with an interest in feminism, body politics, social constructions and sexualities. Using both autobiographical materials as well as being inspired by the work of artists like Martha Wilson, Carolee Schneemann and Hannah Wilke, I am producing a transdisciplinary body of work that combines movement, photography, video and writing. 


“As I do with my with my own work, any critique I give another will consider this first and above all else: authenticity. Actively working against notions of romanticism and false nostalgia is the first pursuit. After that, risk-taking in not only material but risk-taking within the daily ins-and-outs of artistic practice should follow. Working outside the traditional art box myself, I have insight into navigating the obstacles those of us who did not take the A-B-C path to becoming an artist experience. I also offer insight into various textile craft methods and painting references with a specification toward the American South.”

Special Focus: Sewing, craft theories, experimentation & resourcefulness, DYI approach to art commerce, and encouraging enthusiasm toward possibilities

Coulter’s website

Time Zone: Central

The Numbers, 2019, Various textiles, 7′ x 5′

Coulter Fussell, a quilter, was born in Columbus, Georgia, an old textile town on the Chattahoochee River separating Georgia from Alabama. As the daughter of both a museum curator and a prolific seamstress, Coulter’s artistic path and creative practice is a continuation of that combination; a merging of the ideas of what is considered finer arts with the tried and true craft methods of traditional arts. Coulter runs an experimental textile studio in the small Hill Country town of Water Valley, Mississippi, where she lives. There, she makes boundary-pushing quilts from the donated clothes, quilts, and textiles left in bags at her studio door; donations entrusted to her by fellow townspeople. Coulter has exhibited work across the country from the San Francisco Museum of Modern Art to Bridget Donahue Gallery in New York City to The Halsey Institute of Contemporary Art in Charleston, South Carolina. As a craftswoman trained only by watching her mother sew, Coulter is proud to have been the Finalist for the 2017 SouthArts Southern Prize, the 2019 Visual Arts Inductee into the Mississippi Institute of Arts and Letters and a 2019 United States Artists Fellow in Craft.


“I have a kind but honest critique style that is focused on making your work the best that it can be on it’s own terms. My goal will be to help you find and refine your voice and aesthetic in your work. I am very interested in story-telling and have experience with video work, stop motion, traditional animation and puppetry. I’m also a 2D artist working in collage, cyanotype and embroidery. I am a single mother, but have been able to apply and travel extensively for artist residencies with my child (it is possible). I also have experience creating and teaching workshops for children and adults.”

Special Focus: video, fibers, encouraging energy, helpful with finding the concept behind your work, feminist/gender theory

Sarah’s website

Time Zone: Central

“Bruisers”, film still, animated cyanotype, 2019, 8:00

Sarah Fox’s multi-media narratives and characters are created from embodied female experience. Stories of life, loss, love and sex are told through corporeal hybrid creatures. The resulting collages, cyanotypes, and animations suggest a childlike fairytale but with an undercurrent of dark symbolism. Her work has been shown throughout Texas, as well as in the Kinsey Institute (Bloomington, Indiana), Field Projects Gallery (New York, New York), Espacio Dörffi (Lanzarote, Canary Islands), Bedsetter Art Fair (Vienna, Austria), Atelierhaus Hilmsen (Hilmsen, Germany) and Casa Lu (Mexico City, Mexico). In 2019 she was a recipient of a Sustainable Arts Foundation grant that allowed her to live and work at the Women’s Studio Workshop in NY with her son. She was raised in Houston, Texas and currently lives and works in San Antonio, Texas where she is the co-director of the innovative community art space Clamp Light Studios and Gallery, the
creator and co-director for the Brick Gallery in the Blue Star Arts Complex, and serves as board chair of the month long arts celebration Contemporary Art Month.


I work out of my home studio and have learned how to manage my studio time and domestic life. My critique style is open, honest, and constructive. My experience teaching in academia has made me a strong objective observer and I love talking about art, process and ideas.  I will be your cheerleader and look forward to talking with you about your concepts and execution in your artwork.

Special Focus: Deep understanding of fibers and textile art, but has a broad understanding across disciplines, community builder, making the crit group feel comfortable and a shared sacred art space, zeroes in on each artist’s strength to encourage growth and confidence

Mindy’s website

Time Zone: Central

Patty O Green Lucky Lights, Mixed Media Soft Sculpture, 2020

Mindy Sue Wittock is an artist and mother who works out of her home studio in Cedarburg, Wisconsin. She makes soft sculpture that explores the intersection of childhood memory and nostalgia. Wittock has an MFA from Arizona State University with a concentration in fibers. She has previously worked as an associate lecturer of art at the University of Wisconsin Fond du Lac and the University of Wisconsin Green Bay. Wittock has an extensive exhibition record and has taught many textile-based workshops. She survives on coffee and enjoys watching vintage television shows, listening to 80’s music, and going on adventures with her husband, daughter, and pup. Mindy Sue Wittock is also a co-founder of The Wondermakers Collective with the incredible illustrator and coffee drinker Jenna Freimuth. They work together to build beautiful, layered embroideries, pen palling them back and forth from Wisconsin to Minnesota. You can learn more about their collaborative project at:


With over two decades of experience as a working artist, and seven years as a full time mother of two, my strength is the integration of the two practices. I see myself as a guide to artist/mothers who want to learn to do the same, by shifting the paradigm that they are mutually exclusive. With a focus on establishing a daily studio practice, we will discuss setting up a home/studio, dive into time management skills, as well as the importance of establishing a daily ritual, or routine.

Mentees will be encouraged to follow their own curiosity and process, while being offered prompts to challenge their own practice. In doing so, artists will begin to uncover or, clarify their authentic voices through their studio practice. Formally a professor of Fine Arts, I offer art historical contexts to their work, while engaging mentees to learn how to speak about their work in supportive group critiques (observation sessions) that prioritizes non violent communication. 

Special Focus: Painting, Drawing and Collage / Sustainable Studio /Non-Violent communication /fluent in German and conversational in Spanish.

Danila’s website

Time Zone: Mountain

Ratna (Jewel), Kozo Paper and Botanical Dyes (Chamisa, Oregan Grape, Chamomile, Marigold), 2020

Danila Rumold received her MFA in Painting from the University of Washington in Seattle (2001). For nine years, Rumold taught as an Adjunct Professor of Fine Arts at Seattle University, and in her tenth year she became a full-time lecturer. During this time, Rumold received a stipend to be an artist-in-residence for a month at the Vermont Studios (2009) and another granted by the Ora Lerman Charitable Trust Foundation, for a second month long residency at the Soaring Gardens (2010). In 2011, she moved to San Francisco to be near family and start her own. The birth of her first baby was in 2013, and her second in 2015. Five weeks after her second was born, Rumold moved to Albuquerque, New Mexico, where her work shifted from formal concerns of oil painting, to mixed media work that combines botanical color and natural fibers. Selected exhibitions include: Henry Art Gallery, Seattle, WA, SFMOMA Artist Gallery, San Francisco, CA and the Painting Center, New York, NY. She has had two solo exhibitions at Exhibit/208 (2018) and Harwood Art Center (2019) in Albuquerque, NM.


 I have been walking the fine line of artist and mother for almost two decades and have reached what feels like a balance between the two.  As an artist and homeschooling mom, my critique style is gentle, yet honest.  My goal is to encourage artist/mothers to give themselves grace while striving to achieve their goals.  I want to encourage you to explore, play and feel confident in your process.

Special Focus: Portraiture, nature drawing and journaling, oil painting, colored pencil and graphite, art incorporated homeschooling, gentle yet constructive critiques, grace in work/parenting balance and creating on a budget.

Adrienne’s website

Time Zone: Central

Adrienne Brown-David is a freelance artist living in a small, rural town in northern Mississippi. Though she is originally from St. Louis, Adrienne has lived in both Chicago (where she briefly attended the School of the Art
Institute of Chicago) and the Virgin Islands before settling in the south. Adrienne is the mother of four daughters and the experience of motherhood greatly influences her work.

“My work captures black childhood that is pure and uninterrupted. My children and their real life experiences are often the subject. The need to capture the reality of their specific childhood and the freedom that comes with it is one that drives me. It is essential that the work illuminates an often under-recognized narrative: that black childhood is as important and as beautiful as every other child’s. The moments captured are even more precious because black childhood is too often viewed through a smaller lens and for a shorter time than mainstream culture recognizes and articulates. Society tends to cut short the childhood of black and brown children. It has been shown that black children are often viewed as older and less innocent than other children of similar age. What does this mean for my children? My goal is to create work that shatters that myth. By both fostering an environment where my children can remain children and capturing that environment in my art I am attempting to create a new narrative.
As my children get older, and their childhood becomes less about innocence, and more about solidifying the women they will become, the mood of the work shifts. I am attempting to capture that growth as I see it everyday. Sometimes that looks like attitudes, eye rolling, and slumped shoulders, but other times that looks like elaborate designs in their hair, headwraps and big hoop earrings. These shifts in their growth are just as important to the women that they will become as their ability to have free and innocent childhoods. Because of that, it is equally important to capture those moments. I want my work to reinforce the humanization of black youth and how that relates to growing up in America.”

“From working with children to adults, I have found that each individual has taught me
about the benefits of critique. From exploration of physical materials to questioning what major references and life experiences provided inspiration, I feel that each critique
opens up a window to your work and process. With over a dozen years of experience providing feedback to other artists, I am more than convinced that you are never too early or late to take a deep dive into your artwork.”

Special Focus: paper arts and collage based media, broad understanding of materials ranging from installation to traditional painting, focusing on meeting each artist where they are to instill a sense of confidence everyone deserves

Alice’s website

Time Zone: Eastern

“Tiny Bubbles,” Gouache on paper, cut and collaged, 20”x 20”

Alice Stone-Collins is an artist living in Atlanta, GA where she is a faculty member at Georgia Gwinnett College and a mother to two spunky girls. Alice’s intricate hand-painted collaged pieces ask questions of tradition and to the ties that bind. Her work highlights the tensions between the mundane, the everyday, and the apparent dead. Alice earned her MFA in studio art from the University of Tennessee and has exhibited her work regionally and nationally. She has been a resident artist at KMAC (Kentucky
Museum of Art and Craft) based out of Louisville, Kentucky and the David and Julia White Artist Colony in Ciudad Colon, Costa Rica. She was also a finalist for the Jean-Claude Reynal Scholarship among other honors and awards.


“My critique style is built on the foundation that the purpose of critique is growth and to aid fellow artists in making the work the best it can be. I hope after a session there is a better understanding of how the work is functioning. I offer my insights as a fellow artist, educator, curator, and viewer of course. I ask questions and listen as we experience and dissect the work together and identify strengths in the work and questions it poses.

I will also share names of artists and texts for inspiration, my thoughts on displaying the work, and how I see the public interacting with the work, should this be of interest or something the artist is struggling with. If the artist comes with specific questions and goals I’m happy to focus on those and meet their needs for the conversation. In beginning to get to know your practice I try to focus on listening and learning to better understand where the work is headed and what your passions are, to encourage work which is honest and specific to you. I always respect the time energy you put into the work and know it is inherently personal when you invest yourself into it.”

Special Focus: Photographic processes (digital, darkroom, and alternative), video, sound, arts writing, installation, exhibition design

Jacqueline’s website

Time Zone
: Central

Milk Bath, 2019/work in progress, performance photograph, breast milk, oats, millet, wheat, sorghum, thistle 

I am an artist and curator living in San Antonio, TX. I earned my MFA in Photography and Integrated Media from Ohio University and BFA from Texas State University in Photography. Motivated by lived experience, I explore how identity develops and shifts through family, home, and place. My past experiences and the continued challenges and adversity I encounter around family, womanhood, and race drive my commitment to representing these realities of American life.
My work has been exhibited nationally including with Minneapolis Photo Center; Houston Center for Photography; Fotofest, Houston, TX; Clifton Cultural Arts Center, Cincinnati, OH; Co-Lab, Austin, TX; ROY G BIV, Columbus, OH; The McNay, San Antonio, TX; Richmond Art Gallery, Richmond, BC; Southwest School of Art, San Antonio, TX and more.
In arts administration my experience includes curating, exhibition design and coordinating, collections archiving, curatorial writing, teaching undergraduate courses and working with refugee and foster care youth. Since 2014 I have curated and organized dozens of exhibitions for Blue Star Contemporary and have established many programs, most recently the online series The Artist’s Digest and the Novel Ideas Art Book Fair in 2020.


Karen will facilitate space for exploration, risk taking and research. We will build strategies that might work for each individual artist. I think it is important to promote the group as a professional network where synergy and collaboration occurs. Keeping a pertinent space that fosters interaction, dialogue and impact on each other, showing community and society as an evolving organism itself.

Special Focus: gently challenging the group in ways that are personal and resonant to individuals, finding the common ground to build meaningful connections in this community and demystifying aspects of the artworld, research-based studio practices, developing confidence, discovering individual vocabulary
Karen is fluent in Spanish, for any members wanting to communicate with her in that language!

Karen’s website

Time Zone: Central

“The border between us is made out of thread”, 156” X 60”, Oil on Canvas , 2018 

Karen Dana was born in 1982 in Mexico DF. She received a BFA from The National Institute of Fine Arts in Mexico City (2005) and earned her MFA degree at Hunter College, New York (2011), where she based her art studio up until 2017. Her early work consists of scenes where family dynamics evoked visual tension in a composition. By experiencing her own family from abroad and beginning to grow into a family of her own she began exploring her painting practice as a more process-based research. The paintings of her recent work are often part of a specific arrangement based in gestures that she discovered inherited from women in her past as a mandate of femininity. The paintings offer an intimate narrative of the role immigrant women need to reinvent their whole self in order to survive, while at the same time defend their own identity through generations. She has participated in national and international art exhibitions in México, New York, Chicago, Philadelphia, California, she’s been awarded several honors including the CAC Field/Work Residency, FONCA Young Creators Grant, Honorable Mention at the XVI Mexican Painting Biennial, XVI Bienal de Pintura Rufino Tamayo, INBA, Museo Tamayo Arte Contemporaneo & MACO Museo de Arte Contemporaneo de Oaxaca, Mexico. Honors at the XV National Biennale of Painting from Rufino Tamayo Contemporary art Museum in México and Oaxaca. She currently lives in Chicago, IL with her husband Adam and three kids, Martin 7, Ilana 4 and Alan 2.


“My critique style is highly influenced by the fact that I am an artist and a museum professional. I am the exhibitions coordinator for a museum in Baton Rouge, Louisiana. I will help my crit group build best practices for presenting themselves as an artist and presenting your art professionally. My critique style is honest, informative, and often is accompanied with lots of thoughtful feedback. I primarily work in 2D, however, I have worked with several 3D artists, installation artists, and photographers in creating their exhibitions.

I have installed a variety of art and will give a good deal of advice on how to present yourself professionally to museums and galleries. I am clear and direct without being inconsiderate of the artist and the effort and time that went into their artwork. I am also a firm believer in content within artwork, whether that is in a painting or in a readymade. The magic is in the meaning and I will assist you in every way possible to find the meaning in your work. I have participated in this program twice now and I firmly believe that it has helped me develop into a better artist and art professional. I love creative problem solving in order to make someone’s art better than they could have imagined.”

Special Focus: painting, drawing, ceramics, photography and mixed media. Empathizer, gentle feedback, art history and research, problem solving and action plans

Beth’s website

Time Zone:

Can you see me, now that the fog has lifted?, Pen and Ink and Charcoal on Vellum Layers, 26”x 36”

Beth Welch was born in Monroe, Louisiana in 1992. After graduating high school, she studied art for a year in Gorizia, Italy at Liceo Artistico M. Fabiani. She graduated from Louisiana Tech University School of Design in 2015. Through her current drawing series she explores motherhood and the mutable remembrances of childhood in the context of memory. Her work has been exhibited at the Congruence , I Like Your Work Podcast Summer Juried Competition, Stay Home Gallery, Nashville Tennessee, Woman’s Work.Art, Poughkeepsie, New York, Gallery 114, Portland, Oregon, Cultural Center of Cape Cod, South Yarmouth, Massachusetts, Baton Rouge Gallery, Masur Museum of Art, Baton Rouge Court House, Southern University Innovation Center, The Firehouse Gallery, Kellwood Contemporary Gallery, Commercial Interiors Group Baton Rouge, and Brownsville Museum of Fine Art. She is the recipient of the 2020 Best in Show Award for the 2D National Juried Exhibition with the Dallas Metro Arts Contemporary. Welch also review and Honorable Mention in the 33rd September Competition with Alexandria Museum of Art in 2020.  Today Welch works as the Exhibitions Coordinator at the Louisiana Art and Science Museum in Baton Rouge, Louisiana.  She maintains her studio at her home in Geismar, Louisiana.