Go See My Palladium Prints On Exhibit at BWAC
The Brooklyn Waterfront Artists Coalition, BWAC, is exhibiting “More Art of Coney Island”, a curated exhibition for the month of August, 2022. This is a juried show selected by Alicia Degener, co-president of BWAC.
Coney Island is considered to be the poor man’s Riviera. The artists in this exhibition have works depicting the multitudes of people who enjoy Coney Island. The artists represent people of all ages. One can almost hear the sounds of people laughing, talking, listening to music, shouting and even screaming when they go on the rides offered on Coney Island. The drawings, paintings, prints, textiles, and photographs show people on the boardwalk, on the beach, in the water, playing games and particularly participating in the annual Mermaid Parade. I think the Mermaid Parade honors the feminine archetype or Venus, who in mythology rose from the sea.
I am pleased to have my palladium prints of people with tattoos exhibited in this immense wooden building, once a warehouse, and now is a place for art and people to mingle.
12/12 Exhibit at Est. Gallery
One of my prints, from my gelatin silver Iris flower prints, is part of an exhibit at Est. Gallery from Dec. 12, 2024 to Jan. 12, 2025. The curator, Emily Chiavelli, chose art works that didn’t exceed 12 X 12 inches. I am thrilled to have my artwork among the 100 other artworks chosen from over 1,000 entries for this exhibit. Est. Gallery is in Brooklyn, New York.
Art and Poetry
We must be so bitter
without wishes
not to send the seeds
of the dandelion’s rosette
parachuting, and keep it intact.
More startling yet
we bloom peonies on our skin,
dispense their scent;
hold exoskeletons of insects near,
carry serpents on our backs.
—-Diane Mehta
In an era of climate warming, rising oceans, biodiversity extinctions and existing oppression of women, my intention is to create visual narratives that honor our being embedded within the natural world. At Arts Gowanus Open studios in the fall of 2025, I exhibited the above work with two other works that Diane Mehta has chosen to write poetry. One is http://alicegarik.com/work/image-of-serpent-dragon-with-roots-to-flourish/ Another work is https://www.alicegarik.com/work/nesting-in-our-ecosystem/
Poet Diane Mehta has chosen 15 of my artworks to respond with her poetry. Her poems provide new perspectives to my artwork. They create a conversation between the visual and the words. The poems open new ways to experience the art. Here is a PDF of the artwork and poetry.
The response from the attendees at the Open Studios was exciting as they appreciated having poems correspond to the artworks. People appreciated the layering of the work with the poetry and that the poetry contributed multiple pathways to appreciate the artwork. People loved how the art inspired the poetry.
School of Visual Arts Bio Art Residency 2025
Power, Privilege and Identity
I identify with the powers Nature gives us and our interdependence with Nature. Recently my work “Cascade” was printed on a banner for an exhibit surrounding Coffey Park in Red Hook, Brooklyn. The theme of the exhibit was “Power, Privilege and Identity” which fits the diversity of people who live there.
In my work, her tattooed snake is a symbol of transformation and renewal. Her cascading roots are like the roots of the trees surrounding her in the park. They speak of our needs for stability, home and nourishment that should be available to all people.
My other banner is titled “Breath”. This work is about our interdependence on trees for the oxygen we breathe. This work is also on my website under “ECO FEMINISM”.https://www.alicegarik.com/work/chimera-or breathe-our-interdependence-on-trees-for-the-oxygen-we-breath/
Two of the sponsors for this exhibit are Red Hook Art Project and Arts Gowanus.
still utopia: broken links
still utopia: broken links is an exhibit at Gallery MC in New York City for the month of January til February 11th, 2026. 24 participating artists exhibit their work and create a collective “Infinitive Quilt” inspired by the Surrealist game of the “Exquisite Corpse”. Each artwork adds to a living archive, where images flow, intersect, and evolve beyond traditional boundaries.
The 24 artists also connect the loose ends of the multiple narratives with the display of their artworks together.
I am pleased to participate in this collective sharing.
The participating artists are:
Aga Ousseinov, Jean Weissglass, Michel Kanter, Predrag Dimitrijevic, David Dixon, Gorazd Poposki Gwanael Kerlidou, Tomas Vu, Brian Novatny, Noah Loesberg, Deanna Lee, Tricia Keightley, Daniel Davidson, Jennifer Nuss, Nils Karsten, Steve DeFrank, Malte Saenger, Derick Melander, Ray Oglesby Simonetta Moro, Rebecca Hackemann, Brian Miller, Yohanna M. Roa, Alice Garik, Heide Fasnacht
Diving Deep
Exploring the Ocean: A Series of Installations
In July and August I participated in an artist residency at the School of Visual Arts. Through my installations I was able to share my awe for the fragility and delicacy of the creatures that inhabit our oceans. The response to my installation was one of curiosity and care. Our primordial origins are in the oceans and reside in our consciousness.
Reflecting the Light
In my installation at the School of Visual Arts this summer, I found ways to reflect on our connections to the oceans and the life forms within it. I focused on seaweed and horseshoe crabs. Horseshoe crabs are described as living fossils, having changed little since they first appeared in the Triassic period, about 250 million years ago. They face declining numbers due to climate change and that they are hunted for their unique blue blood, valuable for testing vaccines.
I have collected seaweed at the intertidal zones of the Atlantic Ocean at the coast of the Gulf of Maine and along Brooklyn’s ocean front. In the palladium prints for the installation, I have included our human presence with our legs, hands, and faces.
Selling My Work
As well as working with archival materials to produce my art works, I arrange for the framing to be archival. Each work is elegantly framed in white wood. The prints are hinged against the top backing board, so the work hangs like a textile.
This ensures that the delicacy of the translucent gampi paper will be protected and my clients receive works ready to hang.
