Work samples

  • 1. #motherearth#metoo .jpg
    #motherearth #metoo is a sculptural statement on our current environmental crisis along with the ongoing women’s #metoo movement.
  • The Sewing Circle
    The Sewing Circle is a part of a series of work based on the exploration of the woman's role in the KKK organization. This is a self reflective exploration of the history of how women were engaged and involved in the rise and growth of racism in the United States.
  • 1. Animalia Gender Variance
    Animalia Gender Variance is an ongoing project exploring the gender spectrum and the natural body with the addition of fantastical head pieces. The head pieces help draw the attention of the viewer in without being self conscious of viewing the raw naked bodies, some transgender. There are 10 figures in this project so far and I'm hoping to add another 10 sculptures using models that are male born or male identified.
  • The Three Stages of Kristen to Kris
    The three stages of Kristen to Kris. This is a direct body casting of an individual going through the transition of female born to male presenting. The first casting was done in the studio the day that they began hormone therapy. The second casting was done after being on testosterone for one year. The third and and final casting was done three months after top surgery.

About Lania

Lania D’Agostino is an avid (some would say obsessed) maker of things. Some of these creations begin with direction from an emotionally charged connection to a social issue and others are creations that evolve from a direct flow from her inner spiritual self. This intuitional direction shows mostly in her drawings and paintings as she creates figurative works of child like images with jackrabbits, toys and large eyed children. These all seem to have an underlying feeling of an emotionally… more

#motherearth#metoo

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? 
  • 1. #motherearth#metoo .jpg
    #motherearth#metoo, sculpture 4’ X 3’ X 6’Height, resin, oil, mixed materials
  • 2. #motherearth#metoo .jpg
    #motherearth#metoo, sculpture 4’ X 3’ X 6’Height, resin, oil, mixed materials
  • 3. #motherearth#metoo .jpg
    #motherearth#metoo, sculpture 4’ X 3’ X 6’Height, resin, oil, mixed materials
  • 4. #motherearth#metoo .jpg
    #motherearth#metoo, sculpture 4’ X 3’ X 6’Height, resin, oil, mixed materials

The Sewing Circle

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.
  • The Sewing Circle
    The Sewing Circle sculpture context is based in the caucasian woman's involvement in historical racism. The figures are cast in resin to represent the "model" housewife and the clothing is based on the traditional robes and hoods of the KKK. The base is an antique base of a sewing machine. I imaging the women of the 1820's and beyond sitting around sewing while organizing their racist agenda.
  • The Sewing Circle, dtl
  • The Sewing Circle, dtl 2
  • The Sewing Circle, dtl 3
  • Ancestor's Cloak
    Ancestor’s Cloak, painting 24"W X 30"H, Oil, charcoal, enamel, fabric on wood panel
  • Ancestor's Cloak 2
    Ancestor’s Cloak 2, painting 24"W X 30"H, Oil, charcoal, enamel, fabric on wood panel

Temple of Transformation

Life cast figures with paper mache' heads, resin, oil paint, fabric and charcoal
  • Animalia and the Temple of Transformation
  • Animalia
  • Animalia
  • Animalia
  • Animalia
  • Animalia and the Temple of Transformation

Exploring Gender Fluidness

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.
  • Skirts of Desire
    Transgender Series, collage, acrylic, charcoal and oil paint on paper mounted on door panels 66" X 90" X 2" In our world today we can physically change our bodies to meet our psychological needs. For most people this is financially impossible so the change is made using clothing and mannerisms.
  • Jack Rabbit Coupling, 2012
    oil, charcoal, enamel on paper mounted on door panel, 2012 80" X 60"X 2" I'm using the "Jack Rabbit" as a gender complex to express self as an emotional being in transition in the universe.
  • Patterns of Change 1,2,3
    Transgender Series, collage, acrylic, charcoal and oil paint on paper mounted on door panels 80" X 90" X 2" In our world today we can physically change our bodies to meet our psychological needs. For most people this is financially impossible so the change is made using clothing and mannerisms.
  • Jack Rabbit, Blue Period
    oil and charcoal on paper mounted on wood panel, 2012 45" X 60"X 2" I'm using the "Jack Rabbit" as a gender complex to express self as an emotional being in transition in the universe.
  • Patterns of Change 9
    Transgender Series 2010, collage, acrylic, charcoal and oil paint on paper mounted on door panels 80" X 30" X 2" In our world today we can physically change our bodies to meet our psychological needs. For most people this is financially impossible so the change is made using clothing and mannerisms.
  • Self Portrait as a Jack Rabbit, 2012
    oil, charcoal, enamel on paper mounted on door panel, 2012 80" X 30"X 2" I'm using the "Jack Rabbit" as a gender complex to express self as an emotional being in transition in the universe.

Transgender Project

Direct life casts of models in transition of gender identity.
Resin, fiberglass
  • The Three Stages of Kristen to Kris
  • Transgender Project
  • Transgender Project
  • Transgender Project

#HOMELESS

Resin coated, costumed life cast figures of Baltimore homeless youth. Oil, enamel, metal, rope and wood
  • #Homeless
    Life casting of homeless youth in Baltimore City, clothed & resin infused, finished in oil, enamel and oil pastel
  • #Homeless
    Life casting of homeless youth in Baltimore City, clothed & resin infused, finished in oil, enamel and oil pastel
  • #Homeless
    Life casting of homeless youth in Baltimore City, clothed & resin infused, finished in oil, enamel and oil pastel
  • #Homeless
    Life casting of homeless youth in Baltimore City, clothed & resin infused, finished in oil, enamel and oil pastel
  • #Homeless
    Life casting of homeless youth in Baltimore City, clothed & resin infused, finished in oil, enamel and oil pastel
  • #Homeless
    Life casting of homeless youth in Baltimore City, clothed & resin infused, finished in oil, enamel and oil pastel
  • #Homeless
    Life casting of homeless youth in Baltimore City, clothed & resin infused, finished in oil, enamel and oil pastel

The Invisibility of Racism is Visible

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. 
  • American
    American, painting 20”H X 16” W, Oil, charcoal, enamel, fabric on wood panel
  • 7. Immigrant
    Immigrant, painting 24”H X 18” W, Oil, charcoal, enamel on wood panel
  • Red White & Gold
    Red White & Gold, painting 20”H X 16” W, Oil, charcoal, enamel on wood panel
  • American Star
    American Star, painting 18”H X 18” W, Oil, charcoal, enamel on wood panel
  • American Mask
    American Mask, painting 20”H X 18” W, Oil, charcoal, enamel on wood panel
  • White Privilege, 3
    Charcoal on Paper, 11 X 14
  • White Privilege, 5
    Charcoal on paper. 11 X 14
  • White Privilege, 7
    Charcoal on Paper, 11 X!4
  • White Privilege,6
  • Ancestral Energy
    Ancestral Energy, drawing 12"W X 18"H, charcoal, prisma pencil on paper

Paintings

Many of my paintings are created by a direct intuitional flow. These are part of  an ongoing process of self reflection.
  • Bucket of Fishes
    Bucket of Fishes, painting 30"W X 42"H, oil, enamel, primas pencil, conte
  • Nesting time
    oil, enamel, charcoal, pastel on wood panel, 30" X 42"
  • Help is on the way
    oil, charcoal, pastel, enamel on wood panel, 30" X 42"
  • Everyday is a Party
    oil, enamel, charcoal, pastel on wood panel, 30" X 42"
  • The Spotted Dress
    oil, charcoal, enamel on wood Panel, 30" X 42"
  • I will march everyday
    oil, enamel, charcoal, pastel on wood panel, 30" X 30"
  • Everyday is magic
    oil, enamel, graphite, on wood panel, 30" X 30"
  • Transending Mediocracy
    Oil, enamel on wood panel
  • Most things are clearer now
    oil, charcoal on wood panel. 30" X 42"
  • Giraffe Dreams
    Giraffe Dreams, painting 30"W X 42"H, oil, enamel, fabric, prisma pencil

Winter moom

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. 
  • Winter Moon, Maple
    Charcoal, ink on painted wood panel
  • Winter Moon, Ash
    Charcoal, ink on painted wood panel
  • Winter Moon, Magnolia
    Charcoal, ink on painted wood panel
  • Winter Moon, Elm
    Charcoal, ink on painted wood panel
  • Winter Moon, Hemlock
    Charcoal, ink on painted wood panel
  • Winter Moon, Oleander
    Charcoal, ink on painted wood panel