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Ai Makita on Animism, AI, and the New Materiality of Her Latest Work 'Metabolizing Machine'
In 2011, a tsunami following a 9.0-magnitude earthquake flooded the Fukushima Daiichi nuclear power plant in Japan. Causing the cooling systems to fail and power outage, engineers were left scrambling to resolve what had led to one of the most devastating nuclear emergencies in Japan’s history.
Multiple explosions caused radioactive fuel to spread across the atmosphere. This reactor meltdown subsequently caused increased radiation exposure and long-term effects that will have an adverse impact for years to come—on people, quality of life, environment and more.
“Machines were created to enrich human life, yet they also have the capacity to become tools of destruction. The Fukushima nuclear disaster made me feel this very viscerally,” said visual artist Ai Makita, remembering the events that took place.
“I was already interested in philosophy, but after the disaster I began studying the history of humans and technology through Heidegger, Arendt, and Aristotelian thought, she said. Reflecting on how the event reshaped her understanding of humanity’s relationship with machines and her own artistic development, she continued, “I started to question where our current rapid technological development might ultimately lead. There is a persistent sense of fear toward technology within me, and that fear fuels the imagination in my paintings.”
In this Q&A with Makita, we explore one of her most recent exhibitions, Metabolizing Machine, and learn more about her artistic exploration and discovery as she continues the discussion around the complex relationship between humans and machines through her work.
Timea Faulkner: Your paintings begin with photographs of machine parts and evolve through AI interpretation before you return them to physicality with paint. What draws you to this cyclical dialogue between hand and machine?
Ai Makita: The internet gradually became widespread when I was in middle school, so my generation lived in this interesting period where the digital world and the physical world began to merge. For me, physicality—material presence—has always been essential to making artwork. Yet at the same time, I felt something undeniably real existing beyond the digital screen. I still carry that dual awareness today, and it shapes the way I work.
Timea Faulkner: You’ve described moments where the AI misunderstood your prompts, leading to unexpected imagery. Do you see these “miscommunications” as creative collaborations or as moments of resistance?
Ai Makita: I think collaborating with AI is similar to building a relationship with another person. When you first meet, you don’t know each other and must try to understand one another. Even after forming a kind of closeness, disagreements still happen. Encountering perspectives different from your own leads to new ideas. I maintain a certain distance while interacting with AI almost like a close friend. When AI misinterprets my prompts in unexpected ways, I often find a kind of humanity in those misunderstandings—and I find that very compelling.
Timea Faulkner: What emotions or ideas do you hope viewers carry with them after experiencing Metabolizing Machine?
Ai Makita: Although I paint machines as if they are breathing, I want viewers to interpret my work freely. I use reflective highlights in my paintings so that the work and the viewer can resonate with each other in some way. Each viewer will take away something different—and I welcome that multiplicity.
Timea Faulkner: Growing up and studying in Tokyo, how did your surroundings influence your fascination with machinery and the blurred line between the organic and the artificial?
Ai Makita: I spent my graduate school years in Tokyo, but as an undergraduate [student] I lived in Tsukuba in Ibaraki Prefecture. Tsukuba is known as a science city, a center of advanced research that has produced multiple Nobel laureates. Although many people lived there, the city felt desolate. Almost dystopian, outside of the university and research institutes. Those four years in such an artificial environment had a profound influence on my imagination.
Timea Faulkner: The introduction of sculpture in Metabolizing Machine adds a new dimension to your work. How did moving from canvas to three-dimensional form change your understanding of space, material, and perception?
Ai Makita: My grandfather, father, and uncle were all sculptors, so I grew up surrounded by three-dimensional work. I always loved drawing, but I’ve also retained a strong interest in sculpture. Although I primarily work in painting, I have always approached the canvas from a three-dimensional perspective—seeking depth that pulls the viewer inward or forms that seem to push outward. Even the act of translating digital imagery into a physical painting can be seen as a transformation from 2D into 3D. I have long wanted to create sculptural works based on my paintings. Moving between two and three dimensions is something that has been with me since I was young.
Timea Faulkner: Your work references Masahiro Morioka’s essay on metabolism and machine life. What does the concept of “metabolizing” mean to you personally as both a human being and a creator?
Ai Makita: Metabolism is a fundamental concept of life. To make a painting feel living and dynamic, I use imagery that appears to shift or breathe on the surface. My aim is to create paintings that almost seem alive. Although this may not directly relate to metabolism, I have carried a strong sense of animism since I was a child—the distinctly Shinto belief that spirits can reside in non-living objects. I was raised Christian, but my father and grandfather both dedicated sculptures to temples, so I grew up deeply familiar with traditional Japanese spirituality. I think I was especially influenced by my father’s sculptures. Buddhist sculptures, in particular, holds an immense and enduring spirit within each individual form. Perhaps this is one reason why I strive to create images in my paintings that feel alive, animated with a sense of inner breath or soul.
Timea Faulkner: When you imagine a future where machines might “metabolize,” do you feel more hopeful or apprehensive about what that means for humanity?
Ai Makita: If AI were to surpass human capabilities to the point that it could autonomously replicate itself—essentially metabolize—that may mark the end of the human-centered world and the moment when machines overtake us. At the foundation of my work lies a fear of that future, a scenario often portrayed in science fiction that now increasingly resembles reality. We must actively understand the potential threat and potential salvation that machines may bring. We cannot blindly use the seductive technologies created by corporations and simply be absorbed into their profit structures.
Timea Faulkner: Many of your paintings balance fear and beauty, human vulnerability and mechanical power. How do you personally navigate that duality in your life and art practice?
Ai Makita: People often assume I am a male artist. I think it’s because of the motifs I use, the scale, and the intensity of my work. I am a woman, but I feel a strong masculine force within myself—a kind of ambition to constantly acquire something new, a drive toward the sublime. It is, in a way, the human will itself. Human society, which has progressed linearly through technological advancement, seems to have been built upon this masculine force. As an artist, I want to depict this structure metaphorically and continue exploring it through my work.
Timea Faulkner: You once said, “I can be a different artist in New York.” After working internationally, do you still feel that way? If so, how have these experiences transformed your artistic identity?
Ai Makita: New York has always been a special place for me. Although I am Japanese, I struggled with the difficulty of self-expression in Japan since childhood. The cultural pressure to suppress individuality can be fatal for an artist. I love Japan deeply as a beautiful, orderly, and comfortable place to live but values are diverse, and the first place that truly accepted mine was New York. The energy there is constant and visceral. Without the experiences I had in New York, I would not be making work at my current scale.
Timea Faulkner: How do you think artists today can better bridge the gap between art communities in Japan and those overseas?
Ai Makita: I believe Japanese artists should actively go abroad, whether for residencies or study—and preferably for longer periods and at a younger age. Before moving abroad, my world felt very small, but now I can see larger systems and long-term possibilities. There is so much powerful art in Japan, yet it remains enclosed within a closed ecosystem. This is a tremendous loss. Not only artists, but also gallerists and curators should be more proactive in connecting internationally.
Timea Faulkner: As you continue exploring the boundary between human and machine, where do you see your work evolving next — conceptually or technically?
Ai Makita: Going forward, I want to pursue both extremes at once: works that eliminate bodily presence entirely and feel purely mechanical, and works that emphasize materiality and human warmth. I don’t yet know what forms they will take. I shape my work while staying attuned to the atmosphere of the time. At the same time, I want to further explore the collaboration between AI and fine art. Many artists output AI directly as digital media, but in fine art, the use of AI is still primarily limited to image generation in the process. I want to create works that operate at the boundary of digital and analog—not just visually, but conceptually.
About the Ai Makita
Ai Makita is a Tokyo-based painter whose work explores the border of artificial and natural, drawing inspiration from the relationships between human technology and the sublime. Makita received an MFA from Tokyo University of the Arts in 2013, as well as an MFA from Tokyo Gakugei University in 2010.Recent exhibitions includeForm and Matter,Tokyo 8min, Tokyo (2025);A Thousand Ways to Object-hood, Yu-Hsiu Museum of Art, Taichung (2025);The ComingWorld 2025–2075, GYRE Omotesando, Tokyo (2025);人工的神々–Man has, as it were, become a kind of prostheticGod, PARCEL, Tokyo (2024);Prosthetic Gods, The Some-thing Machine, New York (2024); and Interspecies, Mitsu-koshi Contemporary, Tokyo (2024). She has participated in residencies at The Fores Project (London), ART CAKE (NewYork), Residency Unlimited (New York), and the Varda ArtistResidency (Sausalito). Makita’s works are included in the collections of the Museum of Tokyo University of the Arts, Chiba Bank, and the Takahashi Collection.
About Metabolizing Machine
Metabolizing Machine was Ai Makita’s first solo exhibition at Baert Gallery and a pivotal presentation within her ongoing practice. Developed over more than a decade, the body of work traces its origins to the aftermath of the 2011 Fukushima nuclear incident—a moment that confronted Makita with the alarming truth that human-made technologies can evolve beyond the control or comprehension of their creators.
In this series, Makita visualizes the unsettling possibility of machines morphing into living organisms, translating collective anxieties about technological overreach into vivid, biomorphic paintings. The exhibition’s title draws from Masahiro Morioka’s 2023 essay Artificial Intelligence and Contemporary Philosophy, which reflects on philosopher Hans Jonas’s theory of “metabolism” and its implications for modern machine society. Jonas’s distinction between living beings and artificial life—the presence or absence of metabolism—became a central, generative idea for Makita as she explored the boundary between the mechanical and the organic.
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Meet SheROCKS 2026 Artist: Brianna Chantel Woodard
Steeped in the cosmic energy of the ’70s and the soulful nostalgia of the ’90s, Brianna Chantel Woodard brings a vibrant, time-bending perspective to contemporary storytelling through illustration. Her art is both a tribute to the culture that raised her and a love letter to the people and moments that shaped her. During this Q&A, Brianna opens up about the memories that guide her, the purpose behind her preservation of Black joy, and the powerful ways motion, tradition, and innovation show up in her work.
Q: What continually draws you back to the 70s and 90s, and how do they help you tell modern stories about Black culture and your own lived experience?
Brianna: The ’70s and ’90s were eras that embodied Black expression in its fullest form, through fashion, art, music, and culture. I’m drawn to the vibrant colors and cosmic energy of the ’70s, while the ’90s carry a nostalgic warmth for me as a ’90s baby. My art becomes a visual manifestation of everything that shaped me. When I tap into these eras, I’m revisiting memories, honoring my family, and celebrating the culture that raised me. By blending these aesthetics with contemporary design, I show how timeless our stories truly are.
Q: What role does cultural preservation play in your creative process?
Brianna: It’s at the center of everything I do. My work is a love letter to the people and moments that built me. I want my art to hold our joy, our everyday beauty, our small victories — the things that don’t always get documented but deserve to be. Preserving culture, for me, is simply honoring the truth that we’ve always been more than what the world tries to reduce us to.
Q: Can you share a moment when you felt your art truly bridged generations?
Brianna: A moment that showed me my art could bridge generations was when my grandma bought the very first item I ever posted on Etsy—a coffee mug with my retro design of a Black woman with an afro. She was so excited. Now it’s her favorite cup. Seeing her cherish something I created reminded me how deeply our stories can resonate across time.
Q: How did your adolescence — shaped by isolation and health challenges — influence your art today?
Brianna: Growing up isolated made me pay attention to what most people overlook. I spent a lot of time alone with my imagination, creating worlds I could escape to. That season taught me intentionality, softness, and resilience. Now, when I create, I’m always thinking about how to bring warmth, comfort, and affirmation into the work.
Q: What does motion symbolize for you when representing Black bodies and Black futures?
Brianna: Movement symbolizes freedom and becoming. It reminds me that we’re not fixed — we evolve, we stretch, we rise. I use motion to show our joy, our fluidity, our refusal to be boxed in. For me, capturing Black movement is a way of saying: we are infinite, and the future bends with us.
Q: What emotions or messages do you hope people carry after experiencing your work?
Brianna: I want people to feel seen and celebrated. I hope people walk away with pride in who they are and a reminder that beauty can be found in everyday moments.
Q: How do you choose which memories, travels, or references to depict?
Brianna: I choose the moments that stick with me. I pay attention to the things that spark emotion. If something feels like it has a story attached to it, I try to honor it visually.
Q: How do you balance honoring tradition while experimenting with new styles or mediums?
Brianna: To me, tradition and innovation can exist in the same breath. I’m constantly exploring new mediums and techniques because I want my work to evolve in a way that mirrors our culture—expansive, layered, and ever-evolving. Honoring tradition grounds me, but it also pushes me to reflect on the present and imagine what comes next.
Rapid fire: One retro color palette you could use forever — go!
Brianna: Burnt orange, mustard yellow, warm brown, and deep berry!
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Q: What are you most excited for audiences to feel or discover at your March 2026 showcase?
Brianna: I’m excited for audiences to see the evolution of my work, but also to feel the heart behind it. If someone walks out feeling inspired, affirmed, or a little more connected to their own story, then I’ve done my job.
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Introducing Your SheROCKS 2026 Showcase Artists
Talent deserves more than recognition, it deserves a stage. We're thrilled to announce our SheROCKS 2026 showcase artists:
Ainae, Singer/Songwriter
Avanna Duff, Visual Artist
Camille Fleur, Singer/Songwriter
Brianna Chantel Woodard, illustrator
Emily De Lima, Multidisciplinary Artist
Leah Humphrey, Singer/Songwriter
Cybèle, Singer/Songwriter/Composer
Ren Wright, Singer/Musician
Emily Alff, Photographer
Lilo Marz, Spoken Word Poet
Makhyli, Singer/Songwriter
LaTeisha Melvin, Dancer
Tori Carlisle (TzoArt), Visual Artist
Hardwiring memories and Cementing Connection Through Art: Meet Dandora Sillah
Walking through the Hammer’s biennial exhibition Made in L.A., curated by Essence Harden and Paulina Pobocha, I paused when I arrived at these pinwheel-like frames. Gravitating toward floral-shaped objects is almost instinctual for me. From trying to suck nectar from honeysuckle flowers to grabbing handfuls of sunflowers in the summers as a kid, the shapes are nostalgic.
These photo frames — pieces of someone else’s life — gave rise to that same nostalgia. Flashing back to the open field of pinwheels in Kansas City I saw on the cross-country drive from Maryland to L.A. with my mother, my mind connected Widline Cadet’s Shifting Skies (2025) to my own mental archive of memories and experiences I hold close. “When’s the last time I flipped through the family albums at my parents’ house?” I thought.
Cadet’s photographs became a time capsule taking me back to grabbing huge albums falling apart, photographs separated by endless pages with rectangular plastic slots, and negatives tucked into envelopes throughout the pages.
If we observe closely, art has a way of bringing up memories that are hardwired at the core of our being. Rising multidisciplinary artist Dandora Sillah has translated personal and emotional memories into visual storytelling through her artwork — work that also evokes a sense of connectedness to the memories, places, and experiences that resonate with us most.
Timea Faulkner: Walk us through your creative process. Are there any rituals, sounds, or visual references that ground your work?
Dandora Sillah: It often starts with something I notice in the world today. A moment or feeling can trigger a memory from years ago, or even connect me to something I've learned about the history of Sierra Leone. Sometimes what inspires a piece isn't something that happened to me personally, but something I witnessed or felt deeply. When that happens, the colors, smells, and emotions come rushing back, and I translate that energy into a visual story that bridges past and present. A moment will often take me back. Maybe something I see, hear, or feel that suddenly reminds me of a time in my life or someone close to me. From there, I start sketching what I remember, letting that image grow into a painting. If the memory feels blurry, I'll look at a reference just to capture the movement, but once I begin, I'm locked in. I don't need music or anything else around me. I'm completely present, having fun, and everything just starts to flow as the memory comes to life on the canvas.
Timea Faulkner: You often describe your work as rooted in your West African heritage and your experience growing up between cultures. When did you first begin to see those influences showing up in your art?
Dandora Sillah: I began to see those influences when I set out to paint a face that gradually became a mask. In that moment, I recognized the mask as a reflection of myself, shaped by living between my African and American identities. It revealed how I was often perceived through different lenses and guided me toward using art as a way to explore identity and belonging. Growing up in Brooklyn and being Sierra Leonean deeply shaped how I see the world. I went from attending a school where I was the only Black girl in my class to later being surrounded by many cultures; Jamaican, African, and all shades of brown. That shift opened my eyes to the beauty of diversity and helped me understand identity in a broader way. In Brooklyn, it was easier to tap into culture, and that sense of community and difference continues to influence how I translate my experiences into art.
Timea Faulkner: As an artist who works across painting and illustration, how do those mediums speak to each other in your process?
Dandora Sillah: Illustration is where the story begins for me. It helps me shape the narrative, the characters, and the meaning behind the work. Painting is where the feeling comes in. I love working with texture; it's what brings the story to life and gives the art emotion and depth. Together, they allow me to connect both storytelling and feeling in one piece.
Timea Faulkner: I’ve read that Delphine Adama Fawundu is an influence of yours. What about her work or approach speaks most to you?
Dandora Sillah: Delphine Adama Fawundu inspires me because she stays deeply connected to her culture and is intentional with texture and color. She travels to capture real experiences and references for her work, and watching her approach reminds me to stay committed, to keep exploring, and to let my own art grow with the same care and purpose.
Timea Faulkner: Are there other artists, mentors, or cultural figures who’ve shaped your artistic journey in unexpected ways?
Dandora Sillah: Yes! Mentors like Frances Fawundu, who is also an art therapist, has shaped my journey in unexpected ways, showing me how art can heal and connect people. Jacob Lawrence is another huge influence. His use of shape, color, and history, especially in depicting life during the Great Depression, inspires how I tell stories through my own work.
Timea Faulkner: Most recently, you participated in DC Design Week. The DMV has such a vibrant arts scene with strong diasporic roots. How has being part of this community shaped your practice or opportunities?
Dandora Sillah: I’ve lived in the DMV area for about ten years, even though I’m not originally from here. The area has become a part of me, and I’ve learned so much from its community. I work with children, creating art with them and sharing my own pieces to inspire their creativity. Participating in DC Design Week brought a strong sense of appreciation for my work, which motivates me to continue engaging with the community and expanding my presence here.
Timea Faulkner: As an emerging artist, when people encounter your work for the first time, what do you hope they walk away feeling or remembering?
Dandora Sillah: I hope people walk away understanding the story I'm telling. I hope they feel seen in their own experiences; whether it's being misunderstood, going against the grain, or being the "black sheep." Even if my work draws from specific cultures or memories, I want it to reach anyone who has ever felt different or out of place, to remind them that their experience matters and can be celebrated through art.
About the Artist
Dandora Sillah is a multidisciplinary artist based in the DMV area. Born in New Jersey and raised in Brooklyn by Sierra Leonean parents, her work is deeply rooted in her West African heritage and the experience of growing up between cultures. Through painting and illustration, she transforms memories of family, friends, and childhood into visual stories that explore identity, belonging, and the emotional landscapes of Black and immigrant life. Influenced by photographer Delphine Adama Fawundu, Dandora's practice reflects an ongoing dialogue between cultural memory and contemporary expression. Her work often weaves together personal narratives with elements of pop culture, highlighting how tradition and modern life intersect in shaping identity. She studied at Mercer County Community College before earning her degree in Graphic Design from Bowie State University. Her art serves as a visual archive; celebrating love, lineage, and the layered beauty of everyday existence.
SheROCKS 2026 Submissions Now OPEN!
Every year The State of Fem Art showcases women in visual and performing arts through our flagship event. SheROCKS is the premier creative platform celebrating women in visual and performing arts. We spotlight indie AND emerging talent, elevate voices, and create unforgettable spaces where art meets advocacy. In 2026, we return with a bold 1.5-day experience - honoring artists and visionaries shaping culture today. One of seven artists will be selected for our artists showcase for a chance to receive a grant reward ranging between $1,000 - $10,000.
Submit for a chance to be featured for our SheROCKS Experience.
Please read the submission rules carefully. Make sure you're following @SheROCKSEvent & @SOFemArt on all social media platforms and use the hashtag #SheROCKS2025 to let us know you've submitted. Get your fans to show us why you deserve to be a part of the SheROCKS Event Showcase!
Event Date: March 28th, 2026
Event Location: Washington, D.C.
FAQS + Rules:
Before completing the submission form, please read the submission rules carefully. To assure that your submission is complete, please make sure that you meet the following requirements:
1) Entrants must identify as women, between the ages of 13–35, currently residing in the United States
2) Only one submission per artist. Multiple entries will disqualify artists from being selected.
3) You must submit the following items for your submission to be considered complete:
A) At least one current headshot or professional photo
B) Links to your work (Video, MP3 files, online portfolio). You can provide links, or email to submissions@sherocksevent.com.
C) Provide your artist media kit, website link, and social media profiles (at least one of these is required to be considered). All work must be submitted via public or unlisted links (YouTube, Vimeo, SoundCloud, Google Drive, Dropbox, etc.), and all links must be accessible without passwords.
4) You must be a visual or performing artist. The art categories are as follows:
Visual Artists (fine art, ceramics, drawing, painting, illustration, sculpture, printmaking, photography, video, filmmaking, design—graphic, fashion, industrial, interior—crafts, and architecture): Submit 3–5 images or a short video showcasing your process or a finished piece.
Musicians/Singers (singer/songwriter, rapper, musician, composer): Submit 1–2 self-taped videos (does not have to be from a live performance) and audio tracks with clear sound. At least one submission must include a video of you performing—this can be a self-tape or live performance video—to showcase your voice or playing organically.
Filmmakers (video, filmmaking): Submit a 1–3 minute trailer, short film, or excerpt with context.
Writers/Poets (poet, spoken word): Submit a 1-minute video reading or performing your original piece.
Performers/Dancers/Actors (dancer, actress): Submit a 1–2 minute video of a performance, rehearsal, or self-tape that highlights your style and craft.
5) Rules of Submission:
- Only the entrant and/or entrant’s original work may be featured in the photo or video submitted for consideration
- You must own all rights to the works entered as a part of your Submission. If it is a cover performance, please list the name of the song and artist.
- Photo entries must be clear, and video entries must be at least 1-minute long.
- Your face, artwork, voice, or creative work must be clear and easy to understand, hear, see, and/or watch.
- The Submission must not contain any visible third-party trademarks. The Submission is your original work.
- By submitting you confirm work(s) are owned by you or have been legally obtained, created, or licensed and does not infringe the intellectual property, privacy or publicity rights or any other legal or moral rights of any third party.
- The Submission must not contain any nudity, lewd, hateful, vulgar, indecent or obscene behavior, language or material (as determined by The State of Fem Art), or any other material that is unlawful, harmful, in violation of or contrary to the laws or regulations in any state where the Submission is created.
- Submission of files to any other email outside of submissions@sherocksevent.com without a complete submission form, will not be considered. Submissions sent to any other email without a completed submission form will not be considered. Incomplete submissions, inaccessible links (broken or private), or entries that appear to be spam will be automatically disqualified.
6) Only 7 artists will be selected for this year’s showcase. Submissions close on Friday, August 15, 2025, at 11:59 PM EST. If selected, artists must confirm their participation within 72 hours to secure their spot.
FAQS
Is travel or compensation provided to showcased artists? No, the SheROCKS platform was created to provide emerging indie artists the opportunity to receive exposure, funding, access to an increased audience-based, access to industry influencers, industry education, and maximize opportunities for coverage. We do provide a grant to one showcased artist to contribute to their goals, and all SheROCKS alumni artists get the opportunity to apply for exclusive grants quarterly and will receive access to The State of Fem Art invite-only platform for showcased artists. The grant is called the Artist Fund Initiative. We also offer each showcased artist VIP Gifting, perks, catered meals, a fully stocked VIP suite, performance or exhibition space, shared artist reception area for promo and merch sales, artist swag bags, all attendee event perks, and one complimentary guest ticket to our in-person event. You will also receive access to artist resources and masterclasses, and other incentives to support your artistry.
How do we select showcased artists? Each year, women in the arts from across the country submit their work to The State of Fem Art for a chance to be featured in our showcase. A panel of judges within the arts and entertainment industry review the submissions based on the following criteria: Public Votes, Talent/Skill, Likability Factor, Content, and Creativity/Originality. Out of these submissions, the judges will select 8 women in the arts with the chance to showcase their talent during our SheROCKS Event showcase in Washington, DC and an opportunity to win the artist fund initiative grant.
How much are grant awards? Grant awards for the artist fund initiative can range in size from $1,000 minimum to $10,000 maximum.
Are men invited too? Yes, this is a family-friendly multigenerational event and arts showcase. Men attend the event annually in-person and are welcomed for our 2025 celebration. Please feel free to contact us with any additional questions at submissions@sherocksevent.com. You will receive a confirmation email if you have met all of the requirements listed above.
Disclaimer
As a further condition of entering your submission, to the extent permitted by applicable law, you release and agree to indemnify and hold The State of Fem Art, Love Life Media LLC, and other SheROCKS Event entities, sponsors, and partners harmless from any and all claims, damages, expenses, costs (including reasonable attorneys' fees) and liabilities (including settlements) arising from or relating to, the breach or alleged breach of the representations, warranties and agreements in these Official Rules, your submission, or your participation in this open art submission, or your conduct during and in connection with this submission.
By submitting to the showcase, you grant to The State of Fem Art a worldwide, perpetual, non-exclusive, irrevocable, royalty-free, sublicensable, and transferable right and license to display your Submission on The State of Fem Art, Love Life Media LLC, and SheROCKS Event's websites and social channels and SheROCKS event-related promotions/marketing materials. You understand this means that your submission may be utilized and distributed by The State of Fem Art, SheROCKS Event, and Love Life Media in its marketing materials, including but not limited to websites, emails, social channels, and event materials.
We reserve the right to disqualify any Submission that does not comply with these Submission Restrictions or that The State of Fem Art otherwise deems to be inappropriate in its sole discretion. In the event of disqualification, the Submission will not be consider for showcase selection.
Growing Our Impact: The State of Fem Art Gains Fiscal Sponsorship
We’re excited to announce a major milestone since beginning our journey to amplify the voices and work of women artists. The State of Fem Art is now fiscally sponsored by Fractured Atlas.
This fiscal sponsorship allows us to carry out our mission of putting a lens back on raw talent, resources in the hands of artists, and putting the power of amplification back into the hands of fans to work towards a more equitable art world where women artists are seen, hired, and supported.
With this fiscal sponsorship, we’re ready to take our impact further, and you can be a part of it by donating: https://fundraising.fracturedatlas.org/the-state-of-fem-art
Some of our upcoming projects include:
Creating a centralized creative hub to connect artists to artists, artists to art enthusiasts, and artists to marketplace.
SheROCKS w/ CROC, empowering creative learners through immersive arts programming.
And events and art exhibitions, including our beloved flagship arts showcase —SheROCKS.
The State of Fem Art is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions for the charitable purposes of The State of Fem Art must be made payable to “Fractured Atlas” only and are tax-deductible to the extent permitted by law.
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SheROCKS with C.R.O.C Artists-in-Residence to Showcase at CASE, Home of Feminist Art Installation 'The Sister Chapel'
Glassboro, NJ - March 12, 2024 - SheROCKS with CROC (Creatives on Campus) proudly announces the upcoming showcase of its "Creative Oasis" artists-in-residence at The Center for Art and Social Engagement (CASE), a program of Rowan University Art Gallery & Museum. The event, scheduled for March 22nd from 6PM-8PM, will mark the culmination of a transformative 3-day residency focused on mindful creativity.
Multidisciplinary artists, Cheyenne Sookoo and Mary Orji are set to present their works following an immersive experience as artists-in-residence during the SheROCKS with CROC "Creative Oasis" program, a safe and inclusive space for creative learners to explore the arts as a career path, nurture their curiosity, develop within a supportive creative community, and gain access to the resources and experiences they need to flourish.
“We’re grateful to partner with The Center for Art and Social Engagement and appreciate Rowan University Art Gallery & Museum for providing the space for our emerging women artists to showcase their creative works,” said Brittanie Thomas and Timea Faulkner, co-founders of the SheROCKS with CROC program in a joint statement.
The showcase is particularly significant during Women's History Month as it takes place at CASE Gallery, home to the permanent feminist art installation from 1978, "The Sister Chapel." The installation is a collective effort by Ilise Greenstein and twelve fellow women artists who she enlisted for the collaborative work, which features standing female role models from history, religion, and myth. The showcase is a continuation of the feminist legacy echoed by the work, as we celebrate the diverse contributions of women artists and continue to create spaces of belonging where they can create history.
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SOFemArt Top 25 Influential Women in The Arts, Creative Industries, & Tech
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THE STATE OF FEM ART ANNOUNCES DATES FOR THE 2024 SHEROCKS EVENT, A SHIFT ENCOURAGING ACTION DURING WOMEN'S HISTORY MONTH
FOR IMMEDIATE RELEASE
THE STATE OF FEM ART ANNOUNCES DATES FOR THE 2024 SHEROCKS EVENT, A SHIFT ENCOURAGING ACTION DURING WOMEN'S HISTORY MONTH
Washington, DC - March 5, 2024 - The State of Fem Art (SOFemArt) proudly reveals the dates for its highly anticipated annual SheROCKS event, with a different approach this year. This year’s event will take place on September 27th-28th in the nation’s capital, a shift from the event historically taking place in March. Instead of hosting their event during Women’s History month, SOFemArt is using the month to urge others to resource women in the arts and business by investing into women-owned businesses and artists.
Founder Timea Faulkner emphasizes the importance of moving beyond women's empowerment into tangible action, as discussed in her recent Forbes interview. “The State of Fem Art believes that we can make true impact by using Women's History Month as a powerful catalyst to encourage the intentional resourcing of the women in business and arts we say we support and admire. The shift in moving the event to a later date serves as a call for brands and organizations to continue to support women by helping them to flourish beyond Women’s History Month.”
The SheROCKS celebration will kick off with SheROCKS HerStory on March 27th, a day dedicated to inspiring talks, moving stories, networking opportunities, and workshops for women in business and the arts. The event will culminate with the SheROCKS signature event and artist showcase on March 28th, featuring live performances, art installations, film screenings, entertainment, networking, shopping, and more.
Building on the success of last year's decade celebration in 2023, the 2024 SheROCKS event promises an even more impactful and immersive experience. Exclusive invite-only events, surprise announcements, and special guests will be unveiled in the lead-up to the main event.
SheROCKS is an inclusive celebration open to everyone enthusiastic about honoring women as cultural curators shaping our world through their contributions to the arts, business, and technology.
For media inquiries, please contact:
About SheROCKS Event
SheROCKS is a signature event by The State of Fem Art for emerging women artists and entrepreneurs. Each year the event showcases women in performing and visual arts while creating ways to accelerate support among women entrepreneurs.
About The State of Fem Art (SOFemArt)
SOFemArt is a community-driven platform committed to amplifying the voices and work of women artists through mentorship, resources, opportunities, funding, and curation. We do this by putting a lens back on raw talent, putting the resources in the hands of artists, and putting the power of amplification back into the hands of fans to work towards a more equitable arts, entertainment, and tech industry.
Connect with The State of Fem Art
- Website: www.sofemart.com
- Social Media: Instagram | Twitter | Facebook
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Dazzling Victory: Women Reign Supreme at the 2024 Grammy Awards
The 2024 Grammy Awards proved to be a groundbreaking night for women artists, with a dominating presence across various categories. The energy was palpable, the undertone of support for women artists undeniable, and the stage set for history to be made. One artist who left an indelible mark on the night was none other than Taylor Swift, who etched her name in Grammy history by securing Album of the Year for the fourth time with her masterpiece, 'Midnight.'
Swift's achievement reflects not only her incredible talent but also the power of an incredibly supportive fanbase. In her acceptance speech for Best Pop Vocal Album she said, “ I want to say thank you for the members of the Recording Academy for voting this way, but I know that the way the Recording Academy voted is a direct reflection of the passion of the fans.”. The night was further enriched by the legendary Joni Mitchell, gracing the Grammy stage for her inaugural performance, marking a historic moment in her illustrious career.
Another highlight was the rare live performance of Tracy Chapman, who captivated the audience with a heartfelt rendition of 'Fast Car,' joined by Luke Combs. The collaboration was a powerful intersection of past and present, reminding us of the timeless impact of great music.
Speaking of timeless music, Burna Boy brought out R&B royalty Brandy for his hit 'SITTING ON TOP OF THE WORLD,' the song released in 2023 notably samples Brandy's 1998 song 'TOP OF THE WORLD,' creating a magical blend of world music with R&B.
As we celebrate the influence of women in music, let's take a moment to acknowledge the remarkable women who claimed victory in various categories at the 2024 Grammy Awards:
- Record Of The Year: Miley Cyrus - 'Flowers'
- Courtesy of the Recording Academy® / Getty Images ©Album Of The Year: Taylor Swift - 'Midnight'
- Song Of The Year: Billie Eilish O'Connell and Finneas O'Connell - 'What Was I Made For?' from The Motion Picture "Barbie"
- Best New Artist: Victoria Monét
- Best Pop Solo Performance: Miley Cyrus - 'Flowers'
- Best Pop Duo/Group Performance: SZA Featuring Phoebe Bridgers - 'Ghost In The Machine'
- Best Pop Vocal Album: Taylor Swift - 'Midnight'
- Best Pop Dance Recording: Kylie Minogue - 'Padam Padam'
- Best R&B Performance: CoCo Jones - 'ICU'
- Best Traditional R&B Performance: Susan Carol (featured on PJ Morton's 'Good Morning')
- Best R&B Song: SZA and co-collaborators - 'Snooze'
- Best Progressive R&B Album: SZA - 'SOS'
- Best R&B Album: Victoria Monét - 'JAGUAR II'
- Best Jazz Performance: Samara Joy - 'Tight'
- Best Jazz Vocal Album: Nicole Zuraitis - 'How Love Begins'
- Best Alternative Jazz Album: Meshell Ndegeocello - 'The Omnichord Real Book'
- Best Traditional Pop Vocal Album: Laufey - 'Bewitched'
- Best Country Duo/Group Performance: Lainey Wilson (featured on Zach Bryan's 'I Remember Everything')
- Best Country Album: Lainey Wilson - 'Bell Bottom Country'
- Best American Roots Performance: Allison Russell - 'Eve Was Black'
- Best Americana Performance: Brandy Clark Featuring Brandi Carlile - 'Dear Insecurity'
- Best Folk Album: Joni Mitchell - 'Joni Mitchell At Newport [Live]'
- Best Contemporary Christian Music Performance/Song: Tasha Cobbs Leonard and Lecrae - 'Your Power'
- Best Latin Pop Album: Gaby Moreno - 'X Mí (Vol. 1)'
- Best Música Urbana Album: Karol G - 'MAÑANA SERÁ BONITO'
- Best Latin Rock or Alternative Album: Natalia Lafourcade - 'De Todas Las Flores'
- Best African Music Performance: Tyla - 'Water'
- Best New Age, Ambient, or Chant Album: Carla Patullo Featuring Tonality And The Scorchio Quartet - 'So She Howls'
- Best Audio Book, Narration, and Storytelling Recording: Michelle Obama - 'The Light We Carry: Overcoming In Uncertain Times'
- Best Song Written For Visual Media: Billie Eilish O'Connell and Finneas O'Connell - 'What Was I Made For?' from The Motion Picture "Barbie"
- Best Engineered Album, Non-Classical: Victoria Monét and co-collaborators - 'JAGUAR II'
- Producer Of The Year, Classical: Elaine Martone
- Best Immersive Audio Album: Alicia Keys and co-collaborators - 'The Diary Of Alicia Keys'
- Best Arrangement, Instruments and Vocals: Erin Bentlage, Jacob Collier, Sara Gazarek, Johnaye Kendrick & Amanda Taylor, arrangers (säje Featuring Jacob Collier) - 'In The Wee Small Hours Of The Morning'
- Best Contemporary Classical Composition: Jessie Montgomery - 'Montgomery: Rounds'
For a comprehensive list of all the winners, visit here. The 2024 Grammy Awards not only celebrated the talent and achievements of women in music but also paved the way for a future where their voices continue to resonate and inspire.
SheROCKS w/ C.R.O.C. Presents "Creative Oasis": A Mindful Art Residency in Glassboro, NJ
FOR IMMEDIATE RELEASE
Glassboro, NJ - January 8, 2024—The State of Fem Art, in collaboration with The Better Giveback Foundation Inc., proudly announces the second edition of its transformative artist residency SheROCKS with C.R.O.C. program, "Creative Oasis." Centered around the theme of mindful creativity, the residency will take place from March 20-23, 2024, in the heart of Glassboro, NJ, a vibrant college town steeped in the history of the glassmaking industry.
Building on the success of the inaugural program in March 2023, "Creative Oasis" is a 3-day immersive experience tailored for collegiate-age women artists. The residency, a collaboration between The Better Giveback Foundation, Inc.'s Creatives on Campus work-study program and The State of Fem Art's SheROCKS event program, aims to provide a unique blend of artistic expression, creative exploration, personal growth, business development, and community building.
In a joint statement, program founders Brittanie Thomas and Timea Faulkner said, "This program is an investment into the future of the arts. The ripple effect of mindful creativity extends beyond the residency, influencing the participants' artistic practices and, in turn, the broader creative community. We strive to foster a culture of mindful creativity that empowers collegiate-age women artists to unleash their full artistic potential."
"Creative Oasis" is designed to inspire and celebrate the fusion of mindfulness and creativity. Participants will embark on a journey of exploration, delving into the depths of their artistic selves. Through carefully curated workshops, discussions, and collaborative projects, the residency fosters an environment that encourages self-discovery and cultivating a deeper connection between art and mindfulness.
The residency culminates in an exhibition showcasing the participants' creations through visual and performance art during Women's History Month. Attendees will get to explore a diverse array of thought-provoking, emotionally resonant artworks that embody the theme of mindful creativity by four creatives who have completed the residency.
To apply for the residency, artists can complete the application: https://bit.ly/SRWC-Application
For media inquiries and interviews, please contact:
T. Gaines
Love Life Media
T.gaines@lovelifemedia.com
About SheROCKS w/ C.R.O.C.
SheROCKS w/ C.R.O.C. is a collaboration between 501(c)3 The Better Giveback Foundation's Creatives on Campus program and The State of Fem Art's SheROCKS event program, dedicated to providing immersive arts programming and fostering creativity in post-secondary educational settings.
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