M.A.M.A. Issue n.54 Mathilde Jansen words by Lisa DeSiro

Procreate Project, the Museum of Motherhood and the Mom Egg Review are pleased to announce the 54th edition of this scholarly discourse. Literature intersects with art to explore the wonder and the challenges of motherhood. Using words and art to connect new pathways between the academic, the para-academic, the digital and the real, as well as the everyday: wherever you live, work and play, the Art of Motherhood is made manifest. #JoinMAMA #artandmotherhood

Jan 2023: Art by Mathilde Jansen words by Lisa DeSiro

Art – Domestic Goddess by Mathilde Jansen

In this series, I’ve re-shaped my conditioned mind as a (by that time) single working mum, within the domain of my home as a studio.

My role as an artist is entangled with my household and that of a mother and woman. Am I seeing through the fabric of a curtain, or am I hidden behind it? Cleaning, dancing, resting and organizing at home feels as natural to me, as a walk in the forest. It connects me to my heart, body and mind, where intention, dust, touch, move and scents co-exist in an emotional space with walls, doors, closets and transparent windows. As a (former) single mum, our house started to become a spiritual cube to me. It is were we’ve survived and learned to surrender and thrive, from within.

By exploring my natural connection to my home as an extension of Earth and its resources, I’m letting go of old patriarchal structures in which feminine senses and intuitive powers have been dominated or exploited (for the benefits of a power system). In fact I’ve talked to my shower and been drinking water as if coming from a well or source.

In the history of the Netherlands, a natural or spiritual connection to nature has been repressed by the institutional Church for centuries, whilst supporting economical activities and slave trade of the State overseas. A lack of sensual and free emotional expression has caused abuse of (so called) exotic women or even children, without a mutual equal connection.

Nowadays, people tend to project a wild inner nature on (trans)gender diversity. Yet heterosexual mothers often remain ignored or invisible, because the debate about reproduction focuses on a linear and statistic point of view, rather as the contagious power of love as a reproductive energy. And relationships built on free will and symbiotic harmony.

Natural forces have first been rediscovered at home, to affect social and economical domains as well. It’s a subtle and playfully provoking process. Poet and Jungian psychoanalytic Clarissa Pinkola Estés describes myths and stories in ‘Women who run with the wolves’.

Domestic Goddess plays with various interpretations of ‘the female archetype’ vocabulary. For people from western or market-oriented countries this title might refer to a fantasy world or socially submissive status, defining the role of a woman or tasks in a household in a less static way. Whereas in various cultures and beliefs, a ‘family’ spirit is associated with social integrity or emotional responsivity and implements these qualities on a professional level as well. Nevertheless, this series isn’t about left or right, but about exploring the subconscious and acting from that source in daily reality, within your community and living material surroundings too.

Mothership, part 1: Symbioscenes

Through the container project Mothership, I’m exploring how to navigate in my working and family life, pregnancy and motherhood, while evolving a conscious relationship with the Earth as a symbiosis. My first analogue photographs of a happening at the beach, Symbioscenes, will take part of a multimedia video work which is in progress, as the start of my artist residency in Motherhood, with the long term project Mothership.

Our consciousness is rooted in the soil (under our feet) and skies (beyond our control). What is the message of inner voices that we construct and perceive our reality from? I’ll edit unique audio fragments to play with daily, social structures and invisible powers. Such as eye opening fragments of my grandmother’s diary, which I got after she passed away.

Mothership intertwines female family lines and a psychological connectedness within a natural environment. I’ll visually explore the relationship between my (sub)consciousness and the way my body is one with nature.
The project forms a dialogue between my changing life, body and emotional system, but also seeks for new meaning within a collective consciousness. To find a dynamic and valuable truth which is solid enough to be able to build upon the concept of a symbiocene, a term by Glenn Albrecht.

More about the Mathilde:

Mathilde Jansen hails from Deventer (at the IJssel river valley), in the Netherlands. She graduated from the Royal Academy, The Hague (KABK) in 2006. Dar es Salaam has been a second home and source of inspiration. In 2016 she completed the postgraduate studies Education in Arts (Beroepskunstenaar in de Klas) at the Amsterdam School of the Arts. Her primary photographic practice seeks the universal value of natural resources and minerals as a means of tracing the complex relationship between people and the global economy. She aims to create new perspectives from which to examine social structures and the connections between the local and global, which, for Jansen, form the basis of human attitudes, social positioning and intercultural communication. In her practice Jansen consciously interweaves market-driven ways of thinking with an integrated holistic vision of nature, teasing out the borders between the two. Using experiments in analog photography, incorporating awe-inspiring constructions on location and manipulating medium format negatives, she creates a dynamic interplay between subject matter and representation, navigating areas as diverse and all-encompassing as nature and ecology, spirit, and community. Jansen envisions trees and organic structures being planted and preserved in urban spaces, gardens, national parks or anywhere – on a micro or macro level. Her current Landscape projects represent this interplay and interaction between modernization, wilderness and consciousness.


Lisa DeSiro’s poem Living Room, originally published in MER 18 – Home

More About Lisa:

Lisa DeSiro is the author of Labor (Nixes Mate, 2018) and Grief Dreams (White Knuckle Press, 2017). Her poetry is featured in various anthologies and journals and has been set to music by several composers. Lisa is employed as the Production & Editorial Assistant for a non-profit organization; in addition, she is an editor for Indolent Books and a freelance accompanist. Read more about her at thepoetpianist.com

Mother Art Prize 2022 Winners and Show finalists

12 January 2023

Mother Art Prize 2022, finalists and awards winners

We are excited to finally announce the finalists of the Mother Art Prize 2022 edition. 

21 artists among 630 entries from 36 countries have been selected this year by: 

Dr. Charlotte Bonham-Carter (Independent curator and writer, and Head of International Partnerships, CCW), Niamh Coghlan (Director of Richard Saltoun Gallery), Pauline de Souza (Director of the Diversity Art Forum), Caroline Douglas (Director at the Contemporary Art Society), Touria El Glaoui (Director of 1-54 art fair).

Finalists Artists are: 

Hannah Ballou

Louise Black

Jodie Carey

Laura Clark

Andrea Hasler

Kate Holcomb Hale

Mee Jey

Sarah Kaufman

Belinda Kochanowska

WK Lyhne

Jennifer Louise Martin

Jana Sophia Nolle

Yasmin Noorbakhsh

Yelena Popova

Qian Qian

Si Sapsford

Alice Sheppard Fidler

Helena Wadsley

Anna Wantuch

Rong Xie

Ming Ying Hong

Their work will be part of a multidisciplinary group show at the Zabludowicz Collection starting on the 31st of March until the 25th of June 2023. It brings together poignant works exploring themes encompassing gender biases, care, bodies, and migration, creating tension and conversation between history, contemporary lives, and the future. 

Individual awards: 

The Commission Award was won by Ming Ying Hong, Rhode Island, USA ( £1000 for the production of a new work commissioned in partnership with the Diversity Art Forum. This award is dedicated to people of colour, black or brown and mixed-race artists)

Ming Ying Hong’s work explores hybridized bodies, examining the way we define, categorize, and assign power to them. Recognizable forms are fragmented, defamiliarized, and remixed to create an uncanny hodgepodge of forms that were previously magnetically opposed to one another. The work encourages us to examine the in-between spaces of these binaries—the spaces that fall outside of our clear-cut definitions and hierarchies.

Online Award won by Qian Qian, London, UK (online Solo Exhibition with Richard Saltoun Gallery). 

Highlighting the dysfunctionality of language, misunderstanding as precedent to understanding, individual articulation of truth and culture hybridity through translation, the artist discusses these themes with her ambient interactive paper sound installation, visual imagery and poetry. Embracing mankind in a phenomenological sense, Qian Qian’s work awakens the (human) spirits through constructed situations and empathised material. Relations are automatically generated where there are humans and as a type of psychological acknowledgement, spiritual being can be created therefrom.

International Award won by Mee Jey, St. Louis, USA (Up to 1-month Residency at the Mother House Studios in London with mentoring sessions with Sylvie Gormezano)

Mee Jey ‘s work is concerned with the lived experience. Quotidian activities, quests and discoveries are fundamental to her art. Her changing understanding of what it means to be an immigrant is accompanied by the newfound concerns of being a mother. It is thus no surprise that works deeply embedded in cultural and personal experience are also politically charged.

Along with this interweaving of political and personal subjects and Indian cultural knowledge with American material, Mee Jey often engages with the tension between history and contemporary life.

The Mother Art Prize is the only international prize for self-identifying women and non-binary visual artists with caring responsibilities. 

This platform aims to promote and support artists with caring responsibilities, as well as to drive the attention of the wider public to a broad-spectrum of themes that would otherwise be overlooked and devalued, embracing the risk necessary to achieve a sea change in the perception and normalisation of women and carers’ artistic output as part of the cultural landscape.

“Procreate Project is a vitally important space that supports and champions artists who are carers, (m)others or parents. Procreate Project understands the elastic fragility of what it means to make and show artwork, at the same time as having competing caring responsibilities. At this very surreal and anxious time that we are all living through, spaces like this are extremely rare and extra special, so I am very grateful to Procreate Project and the Mother Art Prize for existing and supporting our work.” – Helen Benigson, Mother Art Prize 2020 Winner 

M.A.M.A. Issue n.53

Procreate Project, the Museum of Motherhood and the Mom Egg Review are pleased to announce the 53rd edition of this scholarly discourse. Literature intersects with art to explore the wonder and the challenges of motherhood. Using words and art to connect new pathways between the academic, the para-academic, the digital and the real, as well as the everyday: wherever you live, work and play, the Art of Motherhood is made manifest. #JoinMAMA #artandmotherhood

December 2022: Art by Jessica Caldas words by Dayna Patterson


My work is driven by personal experience and its connection to contemporary and historical issues. Overall, my work addresses the complexities and intricacies of care and identity in our current culture. I seek to make challenging experiences accessible to those without the same somatic knowledge while still engaging in conversation and confrontation.

My recent work is mostly divided into two ways:
1. Focus on the daily lived experiences of women; their triumphs, their struggles, and everything in between in several bodies of work which reflects on the complicated spaces, both personal and public, that women inhabit and move through.
2. Exploration of the complexities of identity where family history, cultural and social influence, politicization, and personal desire are both at odds and overlapping. In this exploration, identity becomes a fact-based excavation of personal history alongside a kind of fictional mythological world-building.

In Living Hysterically each work presents a picture of the past, present, and future tied to the specific story of a woman or girl. These stories provide an entry point into the personal experiences, both positive and negative, that feature pain and fill the lives of women. Against a backdrop of social and political history, the work illustrates the forces working in women’s lives that create a spectrum of violence, from the mundane to the traumatic. This work claims space for women’s stories too often denied in public, creating representations that are more complex and thoughtful than the usual discourse. Moving through the installation becomes an exercise in empathy moving towards understanding and change.

In my practice, I incorporate layered, labor-intensive drawings, collage, sculpture, performance, et al, into fully realized mixed media works and immersive installations. Within my work, the viewer is met with bodily experiences that mirror the complexities of the stories I share, with a focus on shared knowledge, awareness, empathy, and change.

The Endeavor, beloved mother, left her place on April 23rd, 2021. Although only shortly a part of her community and space, she brought joy, happiness, confusion, and excitement in her brief time. Unfortunately, she also faced violence and had to be rescued from her place of rest by a loving and supportive community.

The Endeavor was meant for many things, including Labor, Failure, Death, Violence, Care, Community, Rest, and Love.

More about the Jessica:

Jessica Caldas is a Puerto Rican American, Florida and Georgia based, artist, advocate, and activist. Her work connects personal and community narratives to larger themes and social issues. Caldas has participated in numerous emerging artist residencies, including the Atlanta Printmakers Studio in 2011, MINT Gallery’s Leap Year Program from 2012-2013, The Creatives Project form 2018-2019, Vermont Studio Center in 2020, and was the Art on the Atlanta Beltline AIR in 2020-2021. Caldas was awarded The Center for Civic Innovations 2016 Creative Impact award, named Creative Loafing’s Best of ATL Artist for 2016 and 2015, received the City of Atlanta Office of Cultural Affairs Emerging Artist Award in Visual Arts for 2014, and was a finalist for the Forward Arts Foundation’s Emerging Artist Award in 2014. Her work has been featured at Burnaway, ArtsAtl, Creative Loafing Atlanta, Atlanta Magazine, Simply Buckhead, and more. Her work has been shown at the High Museum of Art in Atlanta, GA and is included in the collections of Kilpatrick Townsend, The City of Atlanta Office of Cultural Affairs, and the Kyoto International Community House.

In her advocacy work, Caldas has spent time lobbying for policy at the local level in Georgia and spent time with the YWCA Georgia Women’s Policy Institute at the 2016 general assembly to assure the passage of the Rape Kit Bill and in 2016 to stop HB 51 in 2017, a bill that would have harmed the safety of sexual assault survivors on college campuses.

Caldas received her Masters of Fine Arts degree at Georgia State University in 2019 and received her BFA in printmaking from the University of Georgia in 2012. She currently runs Good News Arts, a small community arts space and gallery in rural North Central Florida.