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Artist Diana Jean Puglisi

Diana Jean Puglisi

Rutherford, NJ, USA
Artist
10 Followers

About

b. 1988   —   Diana Jean Puglisi (b. Brooklyn, NY) is an interdisciplinary artist, educator, and a Co-Director of BOSSCRITT, a critique and curatorial community that supports emerging artists. She is currently the Curator of Education, Youth and Adult Programs at the Neuberger Museum of Art, Purchase College, SUNY. Puglisi graduated with an MFA from Massachusetts College of Art and Design (Boston, MA), where she was awarded the Beker Family Scholarship and Graduate Dean Scholarship, and a BFA from William Paterson University (Wayne, NJ). She received a 2017 New Jersey State Council on the Arts Individual Fellowship in Sculpture. She has been an artist-in-residence at Vermont Studio Center, Big Red & Shiny, and Gallery 263. Her work has been exhibited at a variety of galleries including Wavelength Space (Chattanooga, TN), William Paterson University Galleries (Wayne, NJ), SOIL Gallery (Seattle, WA), Alfa Gallery (Miami, FL), subSamson (Boston, MA), and Kathryn Schultz Gallery (Cambridge, MA). She has been included in flat files at Deanna Evans Projects (Brooklyn, NY) and Collar Works (Troy, NY). Her work has been featured by The Drawing Center (New York, NY), Big Red & Shiny (Boston, MA), and The Social Distance Art Project (London, UK). Through sculpture, textiles and drawing, Puglisi transforms and recontextualizes objects associated with women’s work, such as thimbles, sewing pins, lint rollers, dresses and pincushions, to try to understand it thoroughly and in a context different from its original. She creates scenarios between forms and materials that reflect parallel narratives to our lived experience while questioning the way arrangement and interaction can anthropomorphize them. Her forms allude to the human body, growths, plants, insects, sea creatures, candy, and microcosms. They become relics of relics themselves exploring themes of feminism, superstition, protection, sexuality, and intimacy. Puglisi arrives at her work by gazing at her matriarchal ancestry and performatively takes part in a long history of seamstresses and lacemakers. Researching underlying stories and histories of an object's strangeness, even objects that we consider common, piques her curiosity.

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