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Atelier 33 | Lisa Cassell Arms

Posted on March 6, 2021

Lisa Cassell-Arms’ collection Aide Memoir (An Aid to Memory) is currently on view in the Griffin Main Gallery as a part of the Atelier 33 exhibition, open until March 26, 2021. Lisa’s Atelier work centers around the curious truth of gardens and the way they can be a source of reflection and comfort for its visitors. To learn more about her process of creating Aide Memoir, we asked Lisa a few questions.

How has your photography changed since the beginning of the COVID-19 pandemic? Has the Atelier been a motivator to persevere through these trying times?

For me, the Atelier has been a game changer. Pre-Covid, I was creating photos and working very much on my own. Ironically, it was the lockdown itself that allowed me to participate remotely in the Atelier. I don’t live in MA, so under normal circumstances I wouldn’t have been able to take part. The benefit of working through projects with feedback from our instructor Meg, along with sharing perspectives and ideas with others in the Atelier was invaluable and will propel me forward.

What do you hope we as viewers take away from viewing your work?

I hope that viewers will take a few moments to imagine themselves in the quiet, early dawn of the garden, and allow a kind of free-association as they take in the shapes, shadows and clipped forms. And then let their gaze wander to the edges where the mood shifts and where the path may be harder to discern.

What is the significance of documenting both the cultivated and the wild or natural space?

I’m interested in the contrast between cultivated space, where human presence (and control) on the landscape is evident, and where we have historically retreated for comfort and healing; and the wild space beyond the edges of the garden, where human presence fades and nature is unbounded. Placing them side by side invites a contemplation of two very different natural spaces.

Tell us what is next for you creatively.

The project I’m working on currently is a series of merged landscape images, inspired by antique stereoscope cards. The aged cards have a slightly unreal quality that has always intrigued me. In my series, I pair landscape images that I’ve shot in different parts of the world, at different times, so that when placed together, they enter into a conversation with one another. The visual dialogue between forms suggests a new, hybrid land.

For more of Lisa Cassell-Arms’ work, visit her website and her Instagram, @SeasonsInVermont.

Atelier 33 | Amir Viskin

Posted on March 5, 2021

In this highlight of the At elier 33 exhibition, we take a closer look at the work of Amir Viskin. His series, Ephemeral Abstractions is currently on view in the Griffin Main Gallery until March 26, 2021. Drawing inspiration from natural aspects of everyday life, Amir’s work reflects a new appreciation for the world around us in these unprecedented times. We asked Amir a few questions for some insight into his collection.

Which of these images was the impetus for this series? How did it inform how you completed the series?

One of the images that was an impetus for this series is “untitled – ice, frost, leaf.” During the fall I experimented with Macro photography, in an effort to photograph ephemeral elements (ice, frost…), and use them to construct abstract images evocative of imaginary landscapes. This led to a series of abstract compositions in which I also used symmetry and superposition.

How has your photography changed since the beginning of the COVID-19 pandemic? Has the Atelier been a motivator to persevere through these trying times?

I am first and foremost an outdoor photographer. The pandemic forced me to look for creative opportunities indoors or close to home. That meant finding small objects (stones, ice cubes, milkweed pods), or using Macro photography to get close (frost on a leaf, dew on a spiderweb). The Atelier was a welcoming, safe space in which to create, share ideas with my other talented colleagues and overcome the challenges of isolation.

What do you hope we as viewers take away from viewing your work?

I hope that they view my images as an opportunity to reflect on the shifting meaning of permanence, of what lasts and what disappears, and what is important in this new “normal.”

What did you discover about yourself and your surroundings through the art of abstracting reality?

I became more aware of the beauty of small and ephemeral objects, and their ability to open an internal conversation on the meaning of time and space.

Tell us what is next for you creatively.

I plan to continue using light, abstraction of composition as tools to explore the challenges we face as we begin to process the meaning of our collective experience this past year.

You can see more of Amir Viskin’s work on his website.

Atelier 33 | Angela Douglas-Ramsey

Posted on March 4, 2021

Angela Douglas-Ramsey‘s collection Carbon Copy is currently on display as a part of the Atelier 33 exhibition in the Griffin Main Gallery until March 26, 2021. Interested to know more about her deeply personal project of photographing her relationship with her daughter, we asked her a few questions.

Which of these images was the impetus for this series? How did it inform how you completed the series?

The image that is the foundation of my project is called “Looking Forward.” It embodies everything the project is about. My daughter is coming into the adult world as I watch. It is bittersweet. This project is ongoing. My goal is to continue it until she leaves for college. The Atelier helped me expand the way I photographed this project. My daughter and I do a daily “call and response.” It is a funny and meaningful visual conversation with a preteen and her mother.

How has your photography changed since the beginning of the COVID-19 pandemic? Has the Atelier been a motivator to persevere through these trying times?

Oh my gosh, yes, so much. I started creating self portraits and working on my thoughtful work. As a documentary photographer, when the pandemic hit, I had no more projects. I had to reinvent myself. The spring was a very trying time for me and photography gave me a purpose. I feel lucky to have gotten the last spot in the Atelier. The class has taught me so much. I see photography is a different way. Meg has been a great teacher. I have been challenged with each assignment and enjoy the challenges.

How has this project brought you closer to your daughter? Did you find yourself photographing your family in a different way than you did prior to the pandemic?

Yes. We go on photo walks together and giggle a lot during our portrait sessions. I could create an entire zine of our funny outtakes. Pre-Covid, I only documented my family. Now, I pose and use more of a narrative approach to tell stories within my family.

What do you hope we as viewers take away from viewing your work?

I hope the viewers see the relationship between a mother and a daughter. I hope they see the love and see the pull. The pull that my daughter is slowly starting to do.

Tell us what is next for you creatively.

I will continue to work on my long term projects. I have a new motivation for all of them. I am also working on a new self portrait project. I am still very much in the research phases and look forward to creating images in the coming months.

For more of Angela Douglas-Ramsey’s work, visit her and her Instagram, @AngelaDouglasPhoto.

Atelier 33 | Julia Arstorp

Posted on March 3, 2021

In this highlight of the Atelier 33 exhibition, we interviewed Julia Arstorp about her collection Invisible Threads, on display in the Griffin Main Gallery until March 26, 2021. This series captures the deeply personal moments shared between the artist and her daughter while revisiting memories from her family’s past.

Which of these images was the impetus for this series? How did it inform how you completed the series?

I would say it’s the image of my daughter wearing a fur coat that belonged to my mother from the early 60’s. I very much feel this project was a collaborative effort with my daughter. I love how that photograph has the imprint of three generations and results in such a joyful image.

How has your photography changed since the beginning of the COVID-19 pandemic? Has the Atelier been a motivator to persevere through these trying times?

Before COVID I never took self portraits but with social distancing I had to
place myself in front of the camera which, at first, was uncomfortable.
Ultimately, I found that it added to the project and brought me a different
perspective on my work. I also found that focusing on a project about
family history helped to anchor me during these stressful times. And yes,
the Atelier was a key motivator to keep me on track.

How has your Atelier work helped you to keep the family tradition alive of passing down stories to each generation?

I grew up on stories told by my grandmother and mother. And while clearing out my mother’s house, we found boxes that held pieces of my family history – everything form scrapbooks and letters to my great grandfathers spectacles and my great grandmothers wedding dress. This project allowed me the time to work on a body of work about these family memories and stories and, equally important, share the process with my daughter.

I hope my work speaks to the connections and identity we find through childhood memories and family stories. The blending of past and present that helps us see we’re part of an ongoing story.

Tell us what is next for you creatively.

I really see myself as both a photographer and a printer. I’ll continue working on new prints – mostly platinum palladium and cyanotype. I’ll also continue documenting the neighborhood and small knit community my family has lived in these past 30 years and continue focusing on family stories.

Visit Julia Arstorp’s website and check out her Instagram, @JuliaArstorp to see more of her work.

Atelier 32 | Shelby Meyerhoff

Posted on September 25, 2020

We close out our Atelier 32 artist series with Shelby Meyerhoff. Shelby’s series Paper Playroom is her newest work created during the pandemic, and now on the walls during the Griffin’s Atelier 32 exhibition. We are thrilled to have Shelby as a member of our Griffin artist community showcasing her work here at the Atelier. We are also pleased to announce her upcoming exhibition in October at our satellite venue, Griffin @ WinCam. Her Zoomorphics exhibition will open on September 28th and run through November 5th, 2020. We talked to this prolific multidisciplinary artist about Paper Playroom and how the Atelier is an incubator for creativity.

Which of these images was the impetus for this series? How did it inform how you completed the series?

When the coronavirus pandemic arrived in Boston, I started taking care of my toddler daughter Moxie for much of the workday. Before COVID, my artistic practice had been to paint intricate designs on my own face and body, and then photograph myself. The whole process required hours of uninterrupted time. It had been my plan to do a new face and body painting series over the course of the spring Atelier. But with Moxie by my side, I knew I’d need to find a different way of making art.

One afternoon, we painted with washable paints and cheap printer paper, which crumpled as it dried. Looking at the peaks and valleys, illuminated by the sunlight streaming into the playroom, I was inspired to create sculptures out of ordinary paper products.

I took this photograph, “A Song to the Wind,” early in the semester. I was struck by the liveliness of this image, and the way the paper bag looked almost like a classical sculptural medium. Seeing this piqued my curiosity about the possibilities of paper.

Over the weeks that followed, I experimented with other ways of photographing the sculptures I was making. In particular, I tried backgrounds with loud patterns and bold colors, which were speaking to me at the time, but didn’t ultimately work well for this series.

Towards the end of the program, I circled back to the approach shown in “A Song to the Wind,” limiting the backgrounds for the series to blacks and greys. With fewer competing elements, the emphasis of the images was on light and form. It was a simple and elegant approach, but sometimes those can be the most daunting to undertake. I don’t think I would have arrived there without the encouragement of our instructor Meg Birnbaum and our Atelier group, who gave thoughtful feedback on every iteration of this project.

How has Atelier helped you hone your vision as an artist?

The Atelier was the perfect space to experiment with different ideas for how the project could go. Meg gave excellent feedback at every step in the process – not only during the regular class meetings, but also throughout the summer as further questions arose.

I was also blown away by the talent and experience of my classmates. Seeing their weekly submissions made me want to bring my very best work to class. And every week they were able to identify what was working well in my photographs and where I needed to improve, always in the spirit of helping me make the series stronger.

I felt safe bringing experimental work to class, but at the same time, I moved faster towards a completed series than I would have expected, because of the quality of our weekly conversations.

Tell us what is next for you creatively.

I’m looking forward to finding out! One of the strengths of the Atelier program is that it takes students all the way through the lifecycle of a project: trying out various possibilities, honing the work into a series and developing the series further, and then producing, marketing, and showing the work. Now that our show is up, I’m excited to begin experimenting again this fall.

I’ll start by picking up paper again, folding and twisting, and seeing where that leads. I’m also interested in doing more painting. And I’m curious if I can find a successful way to combine painting, sculpture, and photography in a new body of work.

At the same time, this fall also marks the culmination of my series of photographs created through face and body painting. The solo show for my Zoomorphics series is opening at the Griffin’s WinCAM gallery on September 28. I am thrilled about the opportunity to show and discuss that work, and it will be all the more fun to do so while in the midst of creating something new.

Join us on October 1st at 7pm Eastern for an engaging conversation with Shelby about creativity and Zoomorphics.

About Shelby Meyerhoff –

Shelby Meyerhoff is a multidisciplinary artist based in the Boston area. She works with a variety of media, including photography, painting, sculpture, and body art, often combining multiple techniques to create her images. Meyerhoff’s work has been exhibited at venues across the country, including the Griffin Museum of Photography (MA), the Mosesian Center for the Arts (MA), the Hartsfield-Jackson Atlanta International Airport (GA), and the LH Horton Jr. Gallery at San Joaquin Delta College (CA). Her Zoomorphics series has also been featured in UU World, the national magazine of the Unitarian Universalist Association.

She has studied visual arts at the Griffin Museum of Photography, the New England School of Photography, and MassArt. Before becoming a fine artist, Meyerhoff worked in nonprofit communications, promoting environmental initiatives.

To see more of Shelby Meyerhoff‘s work, log onto her website. Find her on Instagram at @shelbymeyerhoff

Atelier 32 | Simone Brogini

Posted on September 24, 2020

In today’s highlight of our Atelier 32 exhibition, we look at the work of Simone Brogini, featured here and tonight in our Artist Talk in conversation with Miren Etcheverry and Conrad Gees. Join us for a discussion about creativity in a pandemic, learning online, and the creativity that can come from life under a new normal. In order for us to learn more about Simone’s creativity, we asked him a few questions.

Which of these images was the impetus for this series? How did it inform how you completed the series?

As the pandemic kept us all home, I was looking at my empty street with no activity from us or our neighbors. I wanted to capture this emptiness and I started to photograph the homes around us. At first I just took images from my camera showing the surrounding neighborhood. Then, as we were living in isolation it was almost like being in a bubble, so I started to experiment taking the same kind of images through an empty glass. I was intrigued by the results and liked the rounded vision that represents the new world seen from within this imaginary bubble. From then I started to represents in the same way our life as a family living in this imaginary bubble, so I introduced moment of our life from inside our home such as smart working, remote school learning, moment of fun, and fear to get out even wearing a mask.

What do you hope we as viewers take away from viewing your work?

We are living in this weird moment of our life with a worldwide pandemic which changed our reality. This imaginary bubble wants to represent the emptiness and the silence we have been living in for so long. No noise on the street, no cars, no children screaming, parks were empty. The images want to represent this but also passing from the fear of getting out of the house wearing masks, to the hope of being able to get back to our normal life soon. This hope is represented from the images showing some color of nature and looking at blossoming flowers.

How the Atelier has helped you hone your vision as an artist?

I have been taking images for a long time but probably have never seen them from a fine art point of view. This happened through the classes and the feedbacks I received from Meg and my other colleagues who pushed me to step out from my comfort zone and experiment with something different. In fact, my first attempt to a project was to photograph the emptiness of our cities with B&W images. I really liked those images, but I received comments of being a theme already seen. From then I started to work with a new mindset using some ideas I had through the class assignment, which was the abstract theme when I started to shoot through a glass. It was a complete change, but pointed me into the right direction.

Tell us what is next for you creatively.

For my next step, I am certainly using what I have learned with the Atelier, which is to identify a project and stick with it. I don’t know yet what this next project will be for me, have few ideas but are not yet defined. For sure I will retrying from taking random images not linked to a defined project or not linked into any type of stories I would like to tell. The Atelier had surely taught me how to see through my camera in a different way.

You can see more of Simone Brogini‘s work on his website. Find him on Instagram at @simonebrogini

Atelier 32 | Kevin Belanger

Posted on September 23, 2020

In today’s view of our Atelier 32 artists, we look at the work of Kevin Belanger. His series, A Long Desire, was inspired by our current pandemic and its new reality. After retiring from the Postal Service into a world of anxiety and longing, Belanger worked during the Atelier to visualize this new reality by crafting a project that helps him cope with our new normal.

Which of these images was the impetus for this series? How did it inform how you completed the series?

The one of the family which I titled “Flight”for the exhibition was seminal. It lead me to shoot for empty or “safe” spaces. The church is titled “Sanctuary”. I suppose the family was”fleeing” to the imagined safety of the city, “A Long Desire”. Or a safety that was past and only to be hoped for.

How the Atelier has helped you hone your vision as an artist?

The greatest benefit of the Atelier was in sharpening my focus as I discovered my project. The exercises were extremely beneficial when it came to telling a story and establishing and crafting a series.

Tell us what is next for you creatively.

I plan to take the Atelier in the, I hope, not too distant future and perhaps continue my photographic education.

Atelier 32 | Jeanne Widmer

Posted on September 22, 2020

We have had the pleasure of featuring Jeanne Widmer‘s work from past Atelier classes, and this series, Grace Notes, is our creative vision today. Jeanne’s lovely quiet images stem from the quiet isolation of COVID and the ability see more clearly and look more deeply at the world that surrounds us. Her work is on the walls of the Atelier 32 exhibition, and on our blog today. For more background on Grace Notes, we asked her a few questions.

Which of these images was the impetus for this series? How did it inform how you completed the series?

Like everyone, I squirreled myself indoors in mid-March, just after the Atelier 32 began, only venturing out cautiously with my camera on long daily walks in the neighborhoods of my town. Since I had previously spent three years taking photos of a large local town village development project, I was looking to challenge myself differently. Like many photographers,

I was first struck by the starkness of nearly empty streets, closed shops, buttoned up houses, and empty schoolyards, which reminded me of Todd Hido’s beautiful, often haunting work. But those photos were not enough. I began looking into the spaces for signs of life, details which made the scene come alive in a different way. I studied Helen Levitt’s precise detailed views of New York City and Matt Roberts, who, in his street photography, spoke of becoming more observant and open to the beauty of everyday scenes, finding some of his shots more powerful as diptychs or triptychs. When I first looked at my photo entitled “Spider,” reflections of intertwined tree limbs on a wet, red concrete, I knew it was the direction I wanted to follow. My eyes focused differently. I began noticing a trail of light on pavement, interesting petal filled puddles or drops of night rain on a floral leaf. I marveled at the reality that while we were all pausing and waiting in place, nature, never docile, continued its rainy march into spring.

What do you hope we as viewers take away from viewing your work?

The Covid 19 virus has destroyed many lives, robbed others of livelihoods or homes, and put families and individuals under intense pressure. At the same time, it has provided the opportunity for us to appreciate the human connections, routines and experiences which bring grace and joy into our lives. The pandemic has allowed us to pause and look closely at what essentially matters to us. Whether we look is our choice. By focusing with me on some of the smallest details in nature—in which a close up angle of an otherwise average scene is either unexpectedly satisfying and hopeful or can darken a mood by looking like the virus itself (“Molten Salmon Puddle”), I hope viewers can share and absorb a deep appreciation for the tiny moments—often hidden– that grace our lives.

How the Atelier has helped you hone your vision as an artist?

Having a 12-week course with a skilled photographer and teacher as well as talented classmates is a real motivator to develop a body of work. The challenging photographic exercises, the weekly feedback, the guest artist, and the encouragement and support in trying something new makes a real difference in developing confidence and focus. I hope to continue stretching my vision to see my world differently, whether in landscape, portrait or documentary photography. I am deeply appreciative for the Griffin professional staff’s continued dedication to excellence in its programs and exhibits supporting both established and aspiring photographers.

About Jeanne Widmer –

Growing up in Rhode Island shaped Jeanne Widmer’s attraction to worn urban locations and friendly, neighborhood businesses. An educator, counselor and writer, Widmer, from Belmont, Massachusetts, has studied photography at the Arlington Center for the Arts, the Griffin Museum and the New England School of Photography. Besides many group exhibits, she has had two solo exhibits, one which captured the vibrancy, color and dark expectancy of a single screen movie theater and another which highlighted the subtle drama and dignity of an historic, working class group of businesses. She exhibited with the Atelier 29^th class at the Griffin Museum of Photography focusing on portraits.

Find her online on Instagram @WidmerJeanne

Atelier 32 | Edie Clifford

Posted on September 21, 2020

Next up in our series on Atelier 32 artists, Edie Clifford. Her series, Walter Baker Chocolate Mills has a long memory for Edie and the surrounding Milton, Massachusetts community. Exploring not only her community, but a new camera during the pandemic times we live in gave Edie a new view of how to document the world we now find ourselves in. We asked Edie about her work and experience in the Atelier.

Which of these images was the impetus for this series? How did it inform how you completed the series?

This was the first image I took with my new infrared camera in spring 2019. It showed me how I could photograph the mills with a different look.

About the Walter Baker Chocolate Mills –

Architecture is to be regarded by
Us with the most serious thought.
We may live without her and
Worship without her, but we
Cannot remember without her.
John Ruskin

When I walk through the Walter Baker Chocolate Mill Complex in Milton/Dorchester Lower Mills, MA, my memories are filled with the smell of chocolate. I grew up in Milton in the 1940s-1960s and these imposing brick buildings that were built by my great great uncle in the late 19th century along the Lower Falls of the Neponset River were part of my childhood adventures.

I remember the taste of the broken chocolate pieces that were left in pots outside the Webb and Pierce Mills. I remember the rushing sound of the river as it tumbled over the dam and transformed into millraces, the water channels that led to the former water wheels. And I remember the sight of the trolley as it came around the bend to Milton station that was opposite the storehouses. I now understand that this complex was the beginning of my appreciation for architecture and how it anchors me in my life. The mills not only help me to remember but offer a sense of place today.

I photographed the complex during the spring of 2019 and 2020. I chose black and white infrared to capture the beauty of these architect-designed buildings within their river environment. Infrared allows for deeply contrasted images. It creates an otherworldly feeling with dark sky and water and white foliage and clouds, offering an alternative interpretation of this historic complex as it stands today converted to condominiums.

How the Atelier has helped you hone your vision as an artist?

The Atelier offered me a creative and supportive atmosphere to become aware .. of what I most love to photograph, the techniques I want to use and how to put the resulting images into panel or story. All this in COVID spring … I am grateful!

Tell us what is next for you creatively.

I will continue to photograph the man-made environment with my infrared camera but also with my new Fuji X4 which offers multiple-exposure and blending mode features.

About Edie Clifford –

Edie Clifford is a Boston-based photographer grounded in the man-made environment, from a fence lining a country road to historic and contemporary structures to architectural abstracts. Her photography has been influenced by her work in the field of historical preservation and her love of travel. She is drawn to studying the built environment developed by a variety of cultures both at home and abroad.

Edie shoots both in color and black and white. She uses photography as a mindful practice and enjoys experimenting with infrared, multiple exposures and abstracts to become aware of the present. Recent series include: Baker Chocolate Mills, Modernist and Brutalist Architecture, Massachusetts and London, and The Telegraph Road: A Journey through the deserts and mountains of California, Nevada and Arizona.

Her work has been included at exhibitions at the Oxo Gallery (London), Plymouth Center for the Arts (Plymouth, MA), and Tower Hill Botanical Garden (Boylston, MA).

You can find more of Edie Clifford‘s work her website and on Instagram @egclifford

Atelier 32 | Claudia Ruiz-Gustafson

Posted on September 18, 2020

Claudia Ruiz Gustafson is our focus today. A member of the Atelier community, her work was featured last month in the Griffin Member’s Exhibition curated by Alexa Dilworth. Still exploring a very personal story of family and home, we now see a new side of her creativity with a project inspired by the pandemic, Suspended World, for Atelier 32. An interactive work, there is a slide show and video to accompany the work now up on the walls of the Griffin. We asked her a few questions to learn more about the work.

Which of these images was the impetus for this series? How did it inform how you completed the series?

When I joined Atelier 32, my idea was to continue working on my family project. When we started the classes and the pandemic hit us and we were asked to stay home, everything changed for me. The stay at home advisory and the cancellation of my art shows and my work for the remaining of this year really hit me. I felt very depressed and was considering dropping off from the Atelier. I know Meg was very nervous moving the Atelier online and I didn’t want to disappoint her, so I decided to stay. I couldn’t produce any new work for the first couple of weeks but gradually as I was working on a “image + text’ homework, it all started to make sense. Using my body to mirror my state of mind, I followed my instincts and produced three mini bodies of work, one in each room in my house. At the end I decided to create a slideshow to show my images and poetry together set to music.

What do you hope we as viewers take away from viewing your work?

My intention with this body of work is to express the endless possibility of photography for being a vehicle of self expression, a way to reflect your inner life, your emotions and so that viewers could relate to the work in any way that is meaningful for them.

How has the Atelier helped you hone your vision as an artist?

The Atelier has been a life changing event for me, since my first one I took back in 2014 to the one I recently took. I found a mentor in Meg and Paula and a community of like minded people, many of them who have become my best friends.

Tell us what is next for you creatively.
I am waiting for the airport in Peru to open to visit my family and to continue working on a video that will be an extension of my family project.

About Claudia Ruiz Gustafson –

Claudia Ruiz Gustafson is a Peruvian-born, Massachusetts-based visual artist, educator and curator. Her work is mainly autobiographical and self-reflective; often portraying themes of femininity, memory, dreams and personal mythology. She regards image making as a powerful medium for exploring her inner world.

Claudia has exhibited in museums and galleries across the US and abroad at venues including the Danforth Art Museum, Agora Gallery, Millepiani Gallery, Galleria Valid Foto, Fountain Street Gallery, Griffin Museum of Photography, Cambridge Art Association, Concord Center for the Arts and the RI Center for Photographic Arts. She had her first solo show in 2020 at the Multicultural Arts Center in Cambridge, MA titled Historias de Tierra y Mar (Stories of Land and Sea).

She has received grants and awards from the Massachusetts Cultural Council, the Cambridge Art Association, L.A. Photo Curator: Global Photography Awards, PX3 de la Photographie Paris, The Gala Awards, among others. Her work has been published in Fraction Media, Black & White Magazine, Shades Collective, F-Stop Magazine and has been reviewed by Artscope Magazine, Metrowest Daily News and What Will You Remember.

Claudia has self published several books that incorporate her photography and poetry. She is the owner of a portrait photography business and also teaches creative photo workshops in the Boston area. Currently she is curator and participating artist of the traveling exhibition Crossing Cultures: Family, Memory and Displacement, a multi-media project made up of artwork created by multi-cultural artists reflecting on identity and diaspora.

She holds a BA in Communications from Universidad de Lima, and a Professional Photography Certificate from Kodak Interamericana de Perú.

5% of the net income from her fine art and portrait business goes to benefit two organizations: 1. Humane Society of the US, an organization that provides direct care to more than 100,000 animals each year through their sanctuaries, veterinary programs and emergency shelters and rescues and 2. Farm Sanctuary, an organization that advocates for farmed animals, promotes laws and policies that support animal welfare, animal protection, and veganism through rescue, education, and advocacy.

See more of Claudia Ruiz-Gustafson‘s work on her website. Find her onInstagram @claudiaruizgustafson

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