16' x 30' x 18' Installation view. Wood, dirt, Pink Panther insulation foam, and oil paint. 2013.

16' x 30' x 18' Installation view. Wood, dirt, Pink Panther insulation foam, and oil paint. 2013.

16' x 30' x 18' Installation view. Wood, dirt, Pink Panther insulation foam, and oil paint. 2013.

16' x 30' x 18' Installation view. Wood, dirt, Pink Panther insulation foam, and oil paint. 2013.

16' x 30' x 18' Installation view. Wood, dirt, Pink Panther insulation foam, and oil paint. 2013.

16' x 30' x 18' Installation view. Wood, dirt, Pink Panther insulation foam, and oil paint. 2013.

16' x 30' x 18' Installation view. Wood, dirt, Pink Panther insulation foam, and oil paint. 2013.

16' x 30' x 18' Installation view. Wood, dirt, Pink Panther insulation foam, and oil paint. 2013.

16' x 30' x 18' Installation view. Wood, dirt, Pink Panther insulation foam, and oil paint. 2013.

16' x 30' x 18' Installation view. Wood, dirt, Pink Panther insulation foam, and oil paint. 2013.

Dimensions variable, detail image. Hardwood flooring, Pink Panther insulation foam, acrylic and oil paint. 2014

Dimensions variable, Installation view. Hardwood flooring, Pink Panther insulation foam, wood, acrylic and oil paint. 2014

Dimensions variable, Installation view. Hardwood flooring, Pink Panther insulation foam, wood, acrylic and oil paint. 2014

Dimensions variable, Installation view. Hardwood flooring, Pink Panther insulation foam, wood, acrylic and oil paint. 2014

Dimensions variable, Installation view. Hardwood flooring, Pink Panther insulation foam, wood, acrylic and oil paint. 2014

Dimensions variable, Installation view. Pink Panther insulation foam, wood, acrylic and oil paint. 2014

38" x 18" x 28" Pink Panther insulation foam and oil paint. 2014

40" x 30" x 24" Pink Panther insulation foam and oil paint. 2014

25" x 50" x 54" Pink Panther insulation foam and oil paint, 2014.

Dimensions variable, Installation view. Hardwood flooring, Pink Panther insulation foam, wood, acrylic and oil paint. 2014

48" x 48", Oil on canvas, 2015.

48" x 48" Oil and Elmer's glue on canvas. 2015

12" x 9", Spraypaint, oil and Elmer's glue on canvas, 2014.

40" x 30" Spraypaint and oil on canvas, 2014.

60" x 98", Oil on canvas, 2014.

48" x 96", Oil on canvas, 2014.

48" x 72", Oil on canvas, 2014.

48" x 60", Oil on canvas, 2013.

48" x 72", Oil on canvas, 2013.

36" x 48", Oil on canvas, 2013.

Dimensions variable, Installation view. Plaster, plywood, Pink Panther insulation foam, acrylic and oil paint. 2015

Dimensions variable, Installation view. Plaster, plywood, Pink Panther insulation foam, acrylic and oil paint. 2015

Dimensions variable, Installation view. Plaster, plywood, Pink Panther insulation foam, acrylic and oil paint. 2015

Dimensions variable, Installation view. Plaster, plywood, Pink Panther insulation foam, acrylic and oil paint. 2015

Dimensions variable, Installation view. Plaster, plywood, Pink Panther insulation foam, acrylic and oil paint. 2015

Photo by Sean Scheidt

Dimensions variable, Installation view. Plaster, plywood, Pink Panther insulation foam, acrylic and oil paint. 2015

Dimensions variable, Installation view. Plaster, plywood, Pink Panther insulation foam, acrylic and oil paint. 2015

Dimensions variable, Installation view. Plaster, plywood, Pink Panther insulation foam, acrylic and oil paint. 2015

Dimensions variable, Installation view. Plaster, plywood, Pink Panther insulation foam, acrylic and oil paint. 2015

Still life class.

Opening reception highlighting student work.

Exhibition installation view, work by Mark McCloughan pictured.

Opening reception highlighting student work.

Opening reception highlighting student work.

Portrait class.

Portrait Class.

Still life class.

Still-life class.

Exhibition installation view, work by Willy Smart and Jim Drain pictured.

"Conflicts of Interest" was an 10 page artist book created by students at the MCIJ over a two day workshop. The men created their imagery and then collaboratively printed the books while Jordan facilitated the process, making sure we were able to complete the ambitious project in our two day workshop. The book came in an edition of 12 and was entirely screen printed by hand.

"Conflicts of Interest" was an 10 page artist book created by students at the MCIJ over a two day workshop. The men created their imagery and then collaboratively printed the books while Jordan facilitated the process, making sure we were able to complete the ambitious project in our two day workshop. The book came in an edition of 12 and was entirely screen printed by hand.

"Conflicts of Interest" was an 10 page artist book created by students at the MCIJ over a two day workshop. The men created their imagery and then collaboratively printed the books while Jordan facilitated the process, making sure we were able to complete the ambitious project in our two day workshop. The book came in an edition of 12 and was entirely screen printed by hand.

"Conflicts of Interest" was an 10 page artist book created by students at the MCIJ over a two day workshop. The men created their imagery and then collaboratively printed the books while Jordan facilitated the process, making sure we were able to complete the ambitious project in our two day workshop. The book came in an edition of 12 and was entirely screen printed by hand.

"Conflicts of Interest" was an 10 page artist book created by students at the MCIJ over a two day workshop. The men created their imagery and then collaboratively printed the books while Jordan facilitated the process, making sure we were able to complete the ambitious project in our two day workshop. The book came in an edition of 12 and was entirely screen printed by hand.

"Conflicts of Interest" was an 10 page artist book created by students at the MCIJ over a two day workshop. The men created their imagery and then collaboratively printed the books while Jordan facilitated the process, making sure we were able to complete the ambitious project in our two day workshop. The book came in an edition of 12 and was entirely screen printed by hand.

"Conflicts of Interest" was an 10 page artist book created by students at the MCIJ over a two day workshop. The men created their imagery and then collaboratively printed the books while Jordan facilitated the process, making sure we were able to complete the ambitious project in our two day workshop. The book came in an edition of 12 and was entirely screen printed by hand.

"Conflicts of Interest" was an 10 page artist book created by students at the MCIJ over a two day workshop. The men created their imagery and then collaboratively printed the books while Jordan facilitated the process, making sure we were able to complete the ambitious project in our two day workshop. The book came in an edition of 12 and was entirely screen printed by hand.

"Conflicts of Interest" was an 10 page artist book created by students at the MCIJ over a two day workshop. The men created their imagery and then collaboratively printed the books while Jordan facilitated the process, making sure we were able to complete the ambitious project in our two day workshop. The book came in an edition of 12 and was entirely screen printed by hand.

"Conflicts of Interest" was an 10 page artist book created by students at the MCIJ over a two day workshop. The men created their imagery and then collaboratively printed the books while Jordan facilitated the process, making sure we were able to complete the ambitious project in our two day workshop. The book came in an edition of 12 and was entirely screen printed by hand.

detail

These images are paintings created by men at the Maryland Correctional Institution in Jessup, and are highlighted in the first publication "Free Space: Volume 1" in January 2016, which is published every 6 months to showcase program participant's art work.

These images are paintings created by men at the Maryland Correctional Institution in Jessup, and are highlighted in the first publication "Free Space: Volume 1" in January 2016, which is published every 6 months to showcase program participant's art work.

These images are paintings created by men at the Maryland Correctional Institution in Jessup, and are highlighted in the first publication "Free Space: Volume 1" in January 2016, which is published every 6 months to showcase program participant's art work.

Singing, dancing and comedy bring Joy and Beautiful smiles at the holiday cabaret.

These images are paintings created by men at the Maryland Correctional Institution in Jessup, and are highlighted in the first publication "Free Space: Volume 1" in January 2016, which is published every 6 months to showcase program participant's art work.

Twine, sticks, leaves, dirt for Lean-To Sticks and Twine for fishing net, spears, bola

These images are paintings created by men at the Maryland Correctional Institution in Jessup, and are highlighted in the first publication "Free Space: Volume 1" in January 2016, which is published every 6 months to showcase program participant's art work.

These images are paintings created by men at the Maryland Correctional Institution in Jessup, and are highlighted in the first publication "Free Space: Volume 1" in January 2016, which is published every 6 months to showcase program participant's art work.

These images are paintings created by men at the Maryland Correctional Institution in Jessup, and are highlighted in the first publication "Free Space: Volume 1" in January 2016, which is published every 6 months to showcase program participant's art work.

36" x 22" x 40" Pink Panther insulation foam and oil paint. 2015

36" x 16" x 30" each, Pink Panther insulation foam and oil paint.

Pink Panther insulation foam, canvas, and oil paint. Canvas: 55" x 50" Cat: 15" x 18" x 30" 2016

36" x 22" x 40" Pink Panther insulation foam and oil paint. 2015

Pink Panther insulation foam, wood, canvas, acrylic, latex, and oil paint. 65” x 72” x 24” 2017.

Pink Panther insulation foam, wood, canvas, acrylic, latex, and oil paint. 65” x 72” x 24” 2017.

Pink Panther insulation foam, wood, canvas, acrylic, latex, and oil paint. 65” x 72” x 24” 2017.

This is an image of an individual who is a participant of Free Space and also currently incarcerated at the Maryland Correctional Institution for Women. This was taken during the early stages of the class while we working on introductory drawing techniques. The classes begin by introducing participants to a variety of art making techniques from drawing with charcoal, graphite, and pastels to painting with watercolor and acrylic. Once we would cover most techniques, the class would become a self-directed studio class with myself being able to offer individual support in each artist's work.

The classes begin by introducing participants to a variety of art making techniques from drawing with charcoal, graphite, and pastels to painting with watercolor and acrylic. Once we would cover most techniques, the class would become a self-directed studio class with myself being able to offer individual support in each artist's work. This painting was created by Juan at the Maryland Correctional Institution in Jessup. Because of the setting of the classes only the artist's first names can be used.

The classes begin by introducing participants to a variety of art making techniques from drawing with charcoal, graphite, and pastels to painting with watercolor and acrylic. Once we would cover most techniques, the class would become a self-directed studio class with myself being able to offer individual support in each artist's work. This painting was created by Waymond at the Maryland Correctional Institution in Jessup. Because of the setting of the classes only the artist's first names can be used.

The classes begin by introducing participants to a variety of art making techniques from drawing with charcoal, graphite, and pastels to painting with watercolor and acrylic. Once we would cover most techniques, the class would become a self-directed studio class with myself being able to offer individual support in each artist's work. This painting was created by Gerald at the Maryland Correctional Institution in Jessup. Because of the setting of the classes only the artist's first names can be used.

The classes begin by introducing participants to a variety of art making techniques from drawing with charcoal, graphite, and pastels to painting with watercolor and acrylic. Once we would cover most techniques, the class would become a self-directed studio class with myself being able to offer individual support in each artist's work. This painting was created by Lisa at the Maryland Correctional Institution for Women. Because of the setting of the classes only the artist's first names can be used.

The classes begin by introducing participants to a variety of art making techniques from drawing with charcoal, graphite, and pastels to painting with watercolor and acrylic. Once we would cover most techniques, the class would become a self-directed studio class with myself being able to offer individual support in each artist's work. This painting was created by Shiva at the Maryland Correctional Institution for Women. Because of the setting of the classes only the artist's first names can be used.

The classes begin by introducing participants to a variety of art making techniques from drawing with charcoal, graphite, and pastels to painting with watercolor and acrylic. Once we would cover most techniques, the class would become a self-directed studio class with myself being able to offer individual support in each artist's work. This painting was created by Jeremiah at Dorsey Run Correctional Facility. Because of the setting of the classes only the artist's first names can be used.

The classes begin by introducing participants to a variety of art making techniques from drawing with charcoal, graphite, and pastels to painting with watercolor and acrylic. Once we would cover most techniques, the class would become a self-directed studio class with myself being able to offer individual support in each artist's work. This painting was created by Keonay at the Maryland Correctional Institution for Women. Because of the setting of the classes only the artist's first names can be used.

The classes begin by introducing participants to a variety of art making techniques from drawing with charcoal, graphite, and pastels to painting with watercolor and acrylic. Once we would cover most techniques, the class would become a self-directed studio class with myself being able to offer individual support in each artist's work. This sculpture was created by Christian using toilet paper, soap, and acrylic paint at Dorsey Run Correctional Facility. Because of the setting of the classes only the artist's first names can be used.

The classes begin by introducing participants to a variety of art making techniques from drawing with charcoal, graphite, and pastels to painting with watercolor and acrylic. Once we would cover most techniques, the class would become a self-directed studio class with myself being able to offer individual support in each artist's work. This sculpture was created by Don using toilet paper, soap, and acrylic paint at Dorsey Run Correctional Facility. Because of the setting of the classes only the artist's first names can be used.

PLATFORM ​is proud to present a dual exhibition with works by Baltimore Youth Arts and Free Space in A WAY OUT. A WAY OUT celebrates the creativity and talent of the members of the Blank Page Project. THE BLANK PAGE PROJECT​is an artist educator-led initiative that provides arts programming to youth and adults, with a focus on those involved in the juvenile and criminal justice systems. Our mission is to create opportunities, both within and outside of correctional institutions, which allow participants to gain creative, educational and personal skills. We believe that the arts are powerful tools for social change, personal discovery, and community building. They allow us to imagine and works towards a world that is free of oppression. Due to the distinct needs of participants, the Blank Page Project is comprised of two separate programs: Baltimore Youth Arts and Free Space. FREE SPACE​, BPP’s adult program, operates within the following institutions: the Maryland Correctional Institution-Jessup, the Maryland Correctional Institution for Women and Dorsey Run Correctional Facility. Participants are given access to time, materials, and classes that foster self-expression and offer an alternative to prison culture. Weekly classes create a safe space for incarcerated individuals utilizing the visual and literary arts while encouraging individual and collaborative growth. Free Space also invites visiting artists to introduce participants to new creative skills in hopes of helping to prepare them for post-incarceration.

PLATFORM ​is proud to present a dual exhibition with works by Baltimore Youth Arts and Free Space in A WAY OUT. A WAY OUT celebrates the creativity and talent of the members of the Blank Page Project. THE BLANK PAGE PROJECT​is an artist educator-led initiative that provides arts programming to youth and adults, with a focus on those involved in the juvenile and criminal justice systems. Our mission is to create opportunities, both within and outside of correctional institutions, which allow participants to gain creative, educational and personal skills. We believe that the arts are powerful tools for social change, personal discovery, and community building. They allow us to imagine and works towards a world that is free of oppression. Due to the distinct needs of participants, the Blank Page Project is comprised of two separate programs: Baltimore Youth Arts and Free Space. FREE SPACE​, BPP’s adult program, operates within the following institutions: the Maryland Correctional Institution-Jessup, the Maryland Correctional Institution for Women and Dorsey Run Correctional Facility. Participants are given access to time, materials, and classes that foster self-expression and offer an alternative to prison culture. Weekly classes create a safe space for incarcerated individuals utilizing the visual and literary arts while encouraging individual and collaborative growth. Free Space also invites visiting artists to introduce participants to new creative skills in hopes of helping to prepare them for post-incarceration.

PLATFORM ​is proud to present a dual exhibition with works by Baltimore Youth Arts and Free Space in A WAY OUT. A WAY OUT celebrates the creativity and talent of the members of the Blank Page Project. THE BLANK PAGE PROJECT​is an artist educator-led initiative that provides arts programming to youth and adults, with a focus on those involved in the juvenile and criminal justice systems. Our mission is to create opportunities, both within and outside of correctional institutions, which allow participants to gain creative, educational and personal skills. We believe that the arts are powerful tools for social change, personal discovery, and community building. They allow us to imagine and works towards a world that is free of oppression. Due to the distinct needs of participants, the Blank Page Project is comprised of two separate programs: Baltimore Youth Arts and Free Space. FREE SPACE​, BPP’s adult program, operates within the following institutions: the Maryland Correctional Institution-Jessup, the Maryland Correctional Institution for Women and Dorsey Run Correctional Facility. Participants are given access to time, materials, and classes that foster self-expression and offer an alternative to prison culture. Weekly classes create a safe space for incarcerated individuals utilizing the visual and literary arts while encouraging individual and collaborative growth. Free Space also invites visiting artists to introduce participants to new creative skills in hopes of helping to prepare them for post-incarceration.

Shane McCallum spent thirty seven years of his life exploring these questions. McCallum entered the Maryland prison system as a young man, still in his teenage years. He found himself in a place with the power to reduce a person to a number and crush aspirations. He turned to art as support and managed to hold on to his identity. Throughout his incarceration, McCallum experienced waves of artistic accessibility. At times, materials were provided by the institutions, but there were also years when he was cut off, unable to order paints or supplies. He constantly tried to use his talents to benefit everyone around him, to help uplift those struggling in the same situation. McCallum painted murals in the prison's visiting rooms to help children feel more at ease visiting their fathers, operated facepainting booths during Family Day, and painted portraits of loved ones to other incarcerated men. He donated is artwork to outside events to help benefit service organizations while also working on his own body of work. His paintings can be read like snippets of history seen through Time magazine. A lion behind bars depicts a struggle individuals in prison face daily, feeling powerless against a system designed to keep to keep them at bay. It is a system in which rehabilitation is no longer the goal and self worth is extinguished. A system that, all too often, locks the lion up and doesn't think twice. "Shane McCallum: These Eyes" was curated by Free Space at Gallery Four in Baltimore, MD and made possible with help from Kelley McCallum and Dave Eassa.

Shane McCallum spent thirty seven years of his life exploring these questions. McCallum entered the Maryland prison system as a young man, still in his teenage years. He found himself in a place with the power to reduce a person to a number and crush aspirations. He turned to art as support and managed to hold on to his identity. Throughout his incarceration, McCallum experienced waves of artistic accessibility. At times, materials were provided by the institutions, but there were also years when he was cut off, unable to order paints or supplies. He constantly tried to use his talents to benefit everyone around him, to help uplift those struggling in the same situation. McCallum painted murals in the prison's visiting rooms to help children feel more at ease visiting their fathers, operated facepainting booths during Family Day, and painted portraits of loved ones to other incarcerated men. He donated is artwork to outside events to help benefit service organizations while also working on his own body of work. His paintings can be read like snippets of history seen through Time magazine. A lion behind bars depicts a struggle individuals in prison face daily, feeling powerless against a system designed to keep to keep them at bay. It is a system in which rehabilitation is no longer the goal and self worth is extinguished. A system that, all too often, locks the lion up and doesn't think twice. "Shane McCallum: These Eyes" was curated by Free Space at Gallery Four in Baltimore, MD and made possible with help from Kelley McCallum and Dave Eassa.

Shane McCallum spent thirty seven years of his life exploring these questions. McCallum entered the Maryland prison system as a young man, still in his teenage years. He found himself in a place with the power to reduce a person to a number and crush aspirations. He turned to art as support and managed to hold on to his identity. Throughout his incarceration, McCallum experienced waves of artistic accessibility. At times, materials were provided by the institutions, but there were also years when he was cut off, unable to order paints or supplies. He constantly tried to use his talents to benefit everyone around him, to help uplift those struggling in the same situation. McCallum painted murals in the prison's visiting rooms to help children feel more at ease visiting their fathers, operated facepainting booths during Family Day, and painted portraits of loved ones to other incarcerated men. He donated is artwork to outside events to help benefit service organizations while also working on his own body of work. His paintings can be read like snippets of history seen through Time magazine. A lion behind bars depicts a struggle individuals in prison face daily, feeling powerless against a system designed to keep to keep them at bay. It is a system in which rehabilitation is no longer the goal and self worth is extinguished. A system that, all too often, locks the lion up and doesn't think twice. "Shane McCallum: These Eyes" was curated by Free Space at Gallery Four in Baltimore, MD and made possible with help from Kelley McCallum and Dave Eassa.

Shane McCallum spent thirty seven years of his life exploring these questions. McCallum entered the Maryland prison system as a young man, still in his teenage years. He found himself in a place with the power to reduce a person to a number and crush aspirations. He turned to art as support and managed to hold on to his identity. Throughout his incarceration, McCallum experienced waves of artistic accessibility. At times, materials were provided by the institutions, but there were also years when he was cut off, unable to order paints or supplies. He constantly tried to use his talents to benefit everyone around him, to help uplift those struggling in the same situation. McCallum painted murals in the prison's visiting rooms to help children feel more at ease visiting their fathers, operated facepainting booths during Family Day, and painted portraits of loved ones to other incarcerated men. He donated is artwork to outside events to help benefit service organizations while also working on his own body of work. His paintings can be read like snippets of history seen through Time magazine. A lion behind bars depicts a struggle individuals in prison face daily, feeling powerless against a system designed to keep to keep them at bay. It is a system in which rehabilitation is no longer the goal and self worth is extinguished. A system that, all too often, locks the lion up and doesn't think twice. "Shane McCallum: These Eyes" was curated by Free Space at Gallery Four in Baltimore, MD and made possible with help from Kelley McCallum and Dave Eassa.

Shane McCallum spent thirty seven years of his life exploring these questions. McCallum entered the Maryland prison system as a young man, still in his teenage years. He found himself in a place with the power to reduce a person to a number and crush aspirations. He turned to art as support and managed to hold on to his identity. Throughout his incarceration, McCallum experienced waves of artistic accessibility. At times, materials were provided by the institutions, but there were also years when he was cut off, unable to order paints or supplies. He constantly tried to use his talents to benefit everyone around him, to help uplift those struggling in the same situation. McCallum painted murals in the prison's visiting rooms to help children feel more at ease visiting their fathers, operated facepainting booths during Family Day, and painted portraits of loved ones to other incarcerated men. He donated is artwork to outside events to help benefit service organizations while also working on his own body of work. His paintings can be read like snippets of history seen through Time magazine. A lion behind bars depicts a struggle individuals in prison face daily, feeling powerless against a system designed to keep to keep them at bay. It is a system in which rehabilitation is no longer the goal and self worth is extinguished. A system that, all too often, locks the lion up and doesn't think twice. "Shane McCallum: These Eyes" was curated by Free Space at Gallery Four in Baltimore, MD and made possible with help from Kelley McCallum and Dave Eassa.

The murals are located at the Maryland Correctional Institution for Women and were conceptualized, designed, and painted by a group of 10 women. The concept of the murals is a narrative that reflects and metaphors many of the women's journey through life and decisions that have brought them to their current situation. The mural is broken up into four main events: Chaos, Reality, Enlightenment, Happiness. These are general terms that can change with each individual but try to encapsulate everyone's thoughts. The characters pictured in the mural are all cartoon characters because the setting of the mural is the Visiting Room. The Visiting Room is a place where many of the women are reconnecting with their families, children, and loved ones and our goal was to brighten up the previously depressing cinderblock walls. It can be such a harrowing experience, especially for a young person, to have to enter the prison to see their mother and we wanted to make it more of a comfortable experience for any visitors entering the prison.

The murals are located at the Maryland Correctional Institution for Women and were conceptualized, designed, and painted by a group of 10 women. The concept of the murals is a narrative that reflects and metaphors many of the women's journey through life and decisions that have brought them to their current situation. The mural is broken up into four main events: Chaos, Reality, Enlightenment, Happiness. These are general terms that can change with each individual but try to encapsulate everyone's thoughts. The characters pictured in the mural are all cartoon characters because the setting of the mural is the Visiting Room. The Visiting Room is a place where many of the women are reconnecting with their families, children, and loved ones and our goal was to brighten up the previously depressing cinderblock walls. It can be such a harrowing experience, especially for a young person, to have to enter the prison to see their mother and we wanted to make it more of a comfortable experience for any visitors entering the prison.