Lania D’Agostino, #motherearth#metoo, sculpture

#motherearth #metoo is a sculptural statement on our current environmental crisis along with the ongoing women’s #metoo movement.

There are so many political policies that allow companies to continue to take valuable resources from our earth of which cannot be replenished in our lifetime.

The woman in this sculpture represents Mother Nature and the Women that are the givers of life. In our present time we are bringing to light how women continue to be abused, cast aside, and drained of power at the hands of men. Our values as humans within our communities must change before there is nothing left for us to protect. We must care for our Mother Earth and our fellow human beings.

This sculpture is created with a combination of different life cast resin pieces combined with clay sculpt cast resin parts. The figure’s crouched position was chosen to have the figure closer to earth and replicate an ancient birthing position. The tree roots are wrapped in plastic bag remnants and woven in and through the globe as roots of the earth weave through the soil, here, the roots are literally bound by the plastic. The tree is sprayed and decorated with metallic paint and metallic wires which represents the altering of natural resources to be something it is not. Mother Nature’s wings are made of used broom ends that have been worn down by repeated use. Can Mother Nature continue to clean up after us?

The Sewing Circle is a part of a series of work based on the exploration of the woman's role in the KKK organization. I started with the idea that most likely the women were sewing the hoods and gowns for the men of the KKK and was curious as to what extent their involvement was in this organization. In my research I have found that the women were extremely involved in all aspects of this racist organization and perpetuated its growth in membership and involvement in politics. I have several sculptures in process for this series that focus on the history of the caucasian woman and racism.

Life cast figures with paper mache' heads, resin, oil paint, fabric and charcoal

The Fluidness of Gender Identity and Our Body Image. I have been exploring gender fluidness in myself and my community to try and open the dialogue of what gender means to me. I feel that we are all fluid in the fact the some times we may feel masculine" while at another moment "feminine" and so how does this relate to gender. In the paintings that I am presenting in this section I am exploring gender through our human form and through a whimsical for of the Rabbit. As we look at the Rabbit paintings can we decipher if they are masculine or feminine. In another sense if we change the outward appearance of a person does that change the person or just our perception of that person's gender. If we take away the normative of the female vs male images we will need to decide for ourselves what is it that presents to us as feminine or masculine and why.

Direct life casts of models in transition of gender identity.
Resin, fiberglass

Resin coated, costumed life cast figures of Baltimore homeless youth. Oil, enamel, metal, rope and wood

The Invisibility of Racism is Visible series is a self exploration on how I would like to believe I am not racist while at the same time I realize I have been born caucasian so I must look at the reality of privilege and entitlement. These drawings show the garments of the American racism that we wear even when we don't realize it.

Many of my paintings are created by a direct intuitional flow. These are part of an ongoing process of self reflection.

The drawings here represent the season of the year for digging deep within the soul. This is my time for reflection and growth.
Charcoal and ink on panted wood panels.