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MICHELA MARTELLO The Heavenly Princesses and the Bam Ripple 2022, acrylic, gouache, ink, on ironing interfacing, 140 x 190 x 1200 in CLARA FIALHO It Was Good to Be Loved , 2021 Oil on canvas 60 × 96 in | 152.4 × 243.8 cm SOOO-Z MASTROPIETRO MicroFiberOrganism-Spandasaurasrex , 2020-2022 Fiber, 60 × 96 in | 152.4 × 243.8 cm MICHELA MARTELLO The Heavenly Princesses and the Bam Ripple (detail) 2022, acrylic, gouache, ink, on ironing interfacing, 140 x 190 x 1200 in CLARA FIALHO Empty Promises and Reckless Optimism , 2020 Oil on canvas, 40 × 30 in | 101.6 × 76.2 cm SOOO-Z MASTROPIETRO Monochromania XVI , 2016 Cotton lycra, thread, and glue on canvas 25 × 25 in | 63.5 × 63.5 cm ARTWORK press PRESS LINKS MICHELA MARTELLO The Heavenly Pricesses ad the Bam Ripple 2022, Acrylic, Gouache,Ink on ironing interfacing 140 x19 x1 200 inches THE DIVINE, THE PASSION & THE MAGIC VISITOR CENTER AND THE CAMP GALLERY present: CLARA FIALHO In her abstract paintings, Clara Fialho explores the relationship between form and color to illustrate theoretical concepts and spaces. Born in Porto Alegre, Brazil, and now based in New York, Fialho works with different types of painting and drawing implements, combining pigments, shapes, and textures in compositions of various sizes. The artist, who is influenced by surrealism and magical realism, considers color and form as tools that map invisible forces and realms. Fialho describes the major themes of her work as the “unconscious, impermanence, relationships, unity, the universe, nature, dreams, and love.” MICHELA MARTELLO Born in Grosseto, Italy, Michela Martello is a multidisciplinary artist whose research is influenced by both traditional and contemporary sources. She has been living and working in New York City since 1996 where she often collaborates with Pen & Brush, an association that supports women’s work in literary and visual art. Martello’s works are humanistic, accessible, and consistently characterized by her use of symbolism. A perpetually curious and interdisciplinary artist, she brings together the traditional and contemporary influences of a variety of techniques, media, themes, and cultures to create art that achieves a universal language of aesthetics that merges centuries and crosses cultural bounds. SOOO-Z MASTROPIETRO Sooo-z Mastropietro, a graduate of the Fashion Institute of Technology, holds a BFA in Fashion Design and Textile Design. An artist to the core, Sooo-z lives the very art she explores through painting, mixed media, and textile engineering. Often, she experiments in specific genres which offer varying technical practices or satisfies a creative burst. Themes often develop as observations of current events in her life. Her voice as an artist is constantly evolving through the need to experiment, yet her calculated and spirited execution remains. Her current work under the moniker Knitiot Savant is a unique fiber art form utilizing a triumph of fabric tubes, nuggets, and shreds which she has appeared nationally in juried exhibitions and internationally in publications. ABOUT THE ARTISTS On the occasion of Upstate Art Weekend 2023, Visitor Center and The Camp Gallery are delighted to announce The Divine, The Passion, & The Magic, an upcoming all-female group exhibition featuring works by contemporary artists Clara Fialho, Michela Martello, and Sooo-z Mastropietro. The exhibition aims to decipher, undermine, and celebrate motifs historically associated with the female gender. Namely, the exhibition considers the archetypes of “The Saint,” “The Femme Fatale,” and “The Enchantress,” which have devalued women for centuries through demonization, sexualization, and objectification. The exhibition aspires to challenge gender hierarchy and promote women’s solidarity by investigating what it means to be a female artist in an industry that has historically favored male artists. Each artist engages the titular archetypes intuitively, and the exhibition must be discovered through personal experience. A range of works by the participating artists will be on view, including paintings, wall sculptures, works on paper, and interactive installations. This is the first collaboration between Visitor Center and Camp Gallery and their owners/ directors, Eva Zanardi and Melanie Prapopoulos. On view at Visitor Center from June 24 through August 19, 2023. Michela Martello, 'The Heavenly Princesses and the Bam Ripple' The Heavenly Princesses ad the Bam Ripple, 2022, Acrylic, Gouache, Ink on ironing interfacing, 140x19x1200 inches Michela Martello, 'The Heavenly Princesses and the Bam Ripple' (detail) Michela Martello, 'The Heavenly Princesses and the Bam Ripple' (detail) Clara Fialho 'Untitled Number 349' 2018, Watercolor, and Ink on Paper, 9 1/2 × 12 in Clara Fialho 'Como la Cigarra' 2019, Oil on Canvas 72 × 144 in Clara Fialho 'Righteous Silence' 2014, Oil on Canvas,60 × 96 in Sooo-Z Matropietro 'MicroFiberOrganism-Spandasaurasrex' 2020-2022, Fiber, 60 × 96 in Sooo Z. Mastropietro ' Rip Tide' 2015,Cotton lycra tubes of fabric, board, frame, organza, paint, glue, and screws, 22 × 24 × 5 in Sooo Z. Mastropietro 'Monochromania XVI' 2016,Cotton lycra, thread, and glue on canvas, 25 × 25 in Michela Martello, 'The Heavenly Princesses and the Bam Ripple' The Heavenly Princesses ad the Bam Ripple, 2022, Acrylic, Gouache, Ink on ironing interfacing, 140x19x1200 inches Michela Martello, 'The Heavenly Princesses and the Bam Ripple' (detail) Michela Martello, 'The Heavenly Princesses and the Bam Ripple' (detail) Clara Fialho 'Untitled Number 349' 2018, Watercolor, and Ink on Paper, 9 1/2 × 12 in Clara Fialho 'Como la Cigarra' 2019, Oil on Canvas 72 × 144 in Clara Fialho 'Righteous Silence' 2014, Oil on Canvas,60 × 96 in Sooo-Z Matropietro 'MicroFiberOrganism-Spandasaurasrex' 2020-2022, Fiber, 60 × 96 in Sooo Z. Mastropietro ' Rip Tide' 2015,Cotton lycra tubes of fabric, board, frame, organza, paint, glue, and screws, 22 × 24 × 5 in Sooo Z. Mastropietro 'Monochromania XVI' 2016,Cotton lycra, thread, and glue on canvas, 25 × 25 in Michela Martello, 'The Heavenly Princesses and the Bam Ripple' The Heavenly Princesses ad the Bam Ripple, 2022, Acrylic, Gouache, Ink on ironing interfacing, 140x19x1200 inches Michela Martello, 'The Heavenly Princesses and the Bam Ripple' (detail) Michela Martello, 'The Heavenly Princesses and the Bam Ripple' (detail) Clara Fialho 'Untitled Number 349' 2018, Watercolor, and Ink on Paper, 9 1/2 × 12 in Clara Fialho 'Como la Cigarra' 2019, Oil on Canvas 72 × 144 in Clara Fialho 'Righteous Silence' 2014, Oil on Canvas,60 × 96 in Sooo-Z Matropietro 'MicroFiberOrganism-Spandasaurasrex' 2020-2022, Fiber, 60 × 96 in Sooo Z. Mastropietro ' Rip Tide' 2015,Cotton lycra tubes of fabric, board, frame, organza, paint, glue, and screws, 22 × 24 × 5 in Sooo Z. Mastropietro 'Monochromania XVI' 2016,Cotton lycra, thread, and glue on canvas, 25 × 25 in Michela Martello, 'The Heavenly Princesses and the Bam Ripple' The Heavenly Princesses ad the Bam Ripple, 2022, Acrylic, Gouache, Ink on ironing interfacing, 140x19x1200 inches Michela Martello, 'The Heavenly Princesses and the Bam Ripple' (detail) Michela Martello, 'The Heavenly Princesses and the Bam Ripple' (detail) Clara Fialho 'Untitled Number 349' 2018, Watercolor, and Ink on Paper, 9 1/2 × 12 in Clara Fialho 'Como la Cigarra' 2019, Oil on Canvas 72 × 144 in Clara Fialho 'Righteous Silence' 2014, Oil on Canvas,60 × 96 in Sooo-Z Matropietro 'MicroFiberOrganism-Spandasaurasrex' 2020-2022, Fiber, 60 × 96 in Sooo Z. Mastropietro ' Rip Tide' 2015,Cotton lycra tubes of fabric, board, frame, organza, paint, glue, and screws, 22 × 24 × 5 in Sooo Z. Mastropietro 'Monochromania XVI' 2016,Cotton lycra, thread, and glue on canvas, 25 × 25 in Press Release THE DIVINE, THE PASSION & THE MAGIC On view at Visitor Center from: June 24 through August 19, 2023 Opening Reception: June 24th: 4-7pm at VISITOR CENTER, 233 Liberty Street, Newburgh, NY 12550 VISITOR CENTER is open Saturdays: 1-5 pm and Thursday & Friday: 1-5 pm by appointment. For press inquiries please contact: attila.king@visitorcenter.space +1 917 703-9262- For other inquiries: eva@visitorcenter.space

MIA WRIGHT-ROSS: Root-ster , 2021, Solid Leather Cord SOPHIA DE JESUS-SABELLA: Elm or chestnut 3, 2023 handwoven cotton and linen 70" x 40" SOULL OGUN : ELTHIRE, THHT, THHT , 2020, Copper, 24K rose gold, lapis lazuli, sun marigold, jasper, malachite, red jasper, obsidian, opal, fire opal, cubic zirconia, 13 × 8 × 4 in | 33 × 20.3 × 10.2 cm PATRICIA ORPILLA: Floating Transit , 2023, Collagraph on paper and monotype, on paper, Unique Print (1/1), 22 x 30 inches SOULL OGUN: BROOKLAMOOR BUST CODE #6 , 2022 Fordite, Onyx, Tanzanite , 14k Gold Diamond 2” H x 1.25” W x .85” D SAGARIK SUNDARAM: Sappho Says , 2021 Wool, bamboo, viscose, 23 5/8 x 30 3/4 x 3/4 in ARTWORK press PRESS LINKS PROVENANCE, installation view PROVENANCE Group Show Curated by Marissa Passi Sophia De Jesus-Sabella is an artist, weaver, and educator based in Hartford, Connecticut. Influenced by her blue-collar upbringing, her woven and sculptural works interrogate class, gender, queerness, and utility by combining traditional handweaving with found construction materials. She graduated with Departmental Honors in Fibers from Massachusetts College of Art and Design and has been an Artist in Residence at ACRE, Haystack Mountain School of Crafts and Hartford Artisans Weaving Center. She has shown with Distillery Gallery, MassArt Art Museum, Hudson Valley MOCA and Atlantic Gallery. Soull Ogun explores the relationship between ancient metal fabrication techniques, contemporary philosophy, solar technology, and the reimagining of Afro-Futurism in her jewelry and sculptural practices, utilizing metalsmithing techniques that encompass and encourage a rich history of blending regality with science. Ogun is co-founder and head designer of L’Enchanteur, a jewelry, clothing, and lifestyle incubator that seeks to redefine the meaning of an heirloom. Ogun has created bespoke jewelry for artists including Ms. Lauryn Hill, Erykah Badu, and Beyoncé in the film Black is King. She was formerly the lead jewelry designer for 3.1 Philip Lim and earned her BA from Morgan State University. Patricia Orpilla uses an interdisciplinary process to create paintings, prints, and textiles. Her recent work is interested in the relationship of text to textiles. Her prints use indexical relationships between woven texture and bit mapping to draw relationships between systems that are materially or metaphorically interdependent. She is interested in the potential of material metaphors to engage questions around authorship, industry, and ideology. She references various archives for fingerprints of these narratives -- weaving patterns, religious texts, or ethnographer’s notes become her source material. She received her MFA from Yale School of Art in painting and printmaking. She has been an artist resident at the Museum of Arts and Design and a fellow at the Beinecke Library where she researched ephemera such as maps and religious texts around 19th-century U.S.-Philippines relations. She has recently shown her work at Jeffrey Deitch, Kiosk Gallery, Front/Space, Beggar's Table, Vulpes Bastille, and H&R Block Artspace. She lives and works in Brooklyn, NY. Using ancient felt-making, dyeing and textile techniques found in India and around the world, Sagarika Sundaram creates abstract wool compositions that draw from nomadic architecture, history, philosophy and folk art. The artist explains, “In Hindi, there’s this idea of ‘roti, kapda, makan,’ food, clothing and shelter – three basic needs in life. I relate these to the fields of agriculture, textiles and architecture; building blocks of every civilization.” Some works are meant to be activated by the human body, on occasion by walking through them. The work references classical Tamil poetry, a literary tradition that evokes inner psychological landscapes through erotic descriptions of nature. Sundaram describes how, “Through an intricately patterned, shredded surface that expresses chaos and control, the work employs an abstract language that reinterprets textile as mutant, botanical, and psychedelic.” Mia Wright-Ross is a leather artisan who focuses on works in sculpture, tapestries, and lifestyle tools. Wright-Ross created MWR Collection, LLC., a design atelier specializing in leather crafting, to revive the necessity of the artisan in the design space and to educate future designers and artists in luxury processes. In addition to being the founder and creative director of MWR Collection, Mia Wright-Ross is an adjunct professor of Shoe Design & Construction at Parsons The New School for Design, a full-time design consultant, and was the Museum of Art & Design's 2020—21 Artist Fellow. Her client list includes J. Cole, Solange, Robert Glasper, Carmelo Anthony, Jimmy Butler, Issa Rae. Her work has been published in American Craft Magazine, Footwear News, Harper’s Bazaar, Ebony Magazine, and Vogue. She has worked as a designer in the Footwear & Accessory Industry for over eleven years and began expanding her works in sculptural art in 2018. ABOUT THE CURATOR Marissa Passi celebrates contemporary art and artists through her practice as a writer, educator, and producer of events, exhibitions, and zines. She has organized dynamic experiences in arts and education contexts throughout New York City, aiming to demystify contemporary creative practice by bringing artists and audiences in closer proximity. She is currently the Manager of Artist Studios and Interpretation at the Museum of Arts and Design (MAD). Previously, she was Assistant Director at The Sketchbook Project and Co-Founder and -Editor of the independent publication, Canvas & Cassette. ABOUT THE ARTISTS VISITOR CENTER proudly announces Provenance, an exhibition opening April 15, 2023, that will feature works by Sophia De Jesus-Sabella, Soull Ogun, Patricia Orpilla, Sagarika Sundaram, and Mia Wright-Ross. Provenance will present contemporary artists who engage craft materials and traditions to consider intertwining notions of materiality, lineage, and identity. ABOUT THE EXHIBITION The ownership history of an art object, or provenance, is often recorded by cultural institutions in an effort to qualify an object’s authenticity or value. This practice frequently treats an object as its own entity from its completion to the present, separate from its creator, as it travels between places and amongst collectors. Recontextualizing the idea of provenance, this exhibition will encourage a broader application that centers and celebrates the layered histories and influences inherent to an object by re-engaging the agency of both the artist and the viewer. The contemporary artists represented employ traditions, materials, and techniques associated with craft. This commonality is not coincidental, as craft media – including the weaving, metalsmithing, felting, and leather artisanship on view – are intrinsically rich with memory. To observe any artwork is to activate it with one’s own interpretation; with craft media, the artwork is distinctly loaded with tactile connotations, historical applications, generational techniques, and material associations. Provenance thus presents works that are bolstered by their pasts, the identities of their creators, and the associations unearthed in the viewer. PROVENANCE, installation view PROVENANCE, installation view PROVENANCE, installation view PROVENANCE, installation view PROVENANCE, installation view PROVENANCE, installation view PROVENANCE, installation view PROVENANCE, installation view PROVENANCE, installation view PROVENANCE, installation view PROVENANCE, installation view PROVENANCE, installation view PROVENANCE, installation view PROVENANCE, installation view PROVENANCE, installation view PROVENANCE, installation view SOPHIA DE JESUS- SABELLA : Elm or chestnut 1, 2023, handwoven cotton and linen, pine stretcher bars, Bostitch staples 32" x 32" x 1.5" SOPHIA DE JESUS- SABELLA : IMG_8972.jpg IMG_8973.jpg IMG_8974.jpg IMG_8970.jpg IMG_8971.jpg IMG_8969.jpg IMG_8896.jpg Press Release PROVENANCE on view April 15th - June 3rd, 2023 Op