Disabled Women Make History (and Art) 2025 In-Person Artists

Click on the picture of the artwork to learn more about the piece and its artist in their own words.

Printed on a deep red paper, 6 lines of alternating text emphasize the last line of a poem and credits the author in a warm, dark, and not black ink. “I was sent into this life to love loudly. Saeed Jones.” Starting with a thick, rounded serif font “I” is contrasted with a tall, narrow font for an all capitalized “WAS” then resumes the rounded serif in lowercase “sent.” The next line is all sans serif text in capitals, “INTO THIS,” emphasis on the latter by using wider spacing. “Life” is a bold, large, and dark word to start the next line with full capitalization. It showcases a blocky serif font. The lowercase rounded serif is used again for “to.” The fourth line uses the most vertical space of all. The one word, “LOVE,” is centered in a bold, non serifed text. Sandwiched between a pattern of stars and circles, the ornaments start with an outlined star, a bold circle, a lone star, and a circle with even dots of non printed areas in the ring shape. The next line builds visual continuity by using the rounded serif type of the first line for “LOUDLY.” The final line shows tall, san serif text to identify the author. The last name is in a bolder typeface and wider than the first.

Affirmation of Connection by Elisha Ramey

This is the last line of a poem I was privileged to hear from the author’s own mouth. In a society where the conversations that aren’t had determine so many aspects of individuals’ lives negatively, the clear choice of being oneself for good was so intoxicating to me. The nuances of poetry, the verbal presentation, and my everyday existence with hearing loss challenged my use of communication. I handset gorgeous antique wood type, created a custom color ink, and registered multiple prints by instinct on an antique steel drum press while participating in a letterpress workshop at the Toledo Museum of Art.

A charcoal drawing made from layered paper. Depicted is a white rabbit surrounded by medications and pill bottles, and through holes punched in the paper, the rabbit can be seen infected with fungus and covered in mushrooms.

But You Don't Look Sick by Chelsea Lackey

Like a rabbit in a test lab, when one has an invisible or rare chronic illness, doctors begin by throwing medications and treatments at it, hoping one might work. The patient becomes the test rabbit, subject to all the side effects and bad reactions to medications that occur. After many failed trials the conclusion that the doctors come to is that the patient’s condition must be all in their head. No answers, no questions, no proof, if the medical professional can’t immediately measure or treat the illness then it must be imagined. Suddenly, all that they have ever seen in the patient is anxiety, stress, mental disorders, a scared rabbit sitting in a cold room. My layered paper piece ‘But You Don’t Look Sick’ captures the experiences of medical gaslighting and the feeling of being a test subject when dealing with a rare or unknown illness. On the outside, the rabbit appears fine, though surrounded by medications and samples. In the windows into the rabbit’s true state of being, however, is the decay and sickness that is going ignored simply because it can’t be seen but through the occasional glimpse.

Paper collage: A black and white medical illustration of a body with the ribs open and some organs and veins colored have illustrated full color snakes woven between ribs and other cavities. Full color illustrations of frogs and cacti are behind the figure. The figure and frogs appear to be rising up out of a gaping mouth of a pale yellow creature with flames lining the mouth. The piece is on a black background with a yellow border.

Claw Your Way Out by Rachel Pointer

Mixed media collage depicting my experience as being late diagnosed autistic and with hypermobile Ehlers Danlos. The body that is grotesque and dissected and violated is rising out of the flaming maw of a demon and towards life. No hands to claw their own way out, they look outward, choosing beauty and life. Through that choice, they bring harmony throughout their body and mind, so that even if they never fully escape that torment, they'll still find a way to flourish.
It's not that I've overcome my disabilities, or that my joy comes in spite of them. My disabilities are just as much a part of who I am as anything else, they impact and shape my personality and my life as much as anything else. I don't choose joy in spite of them, I choose joy because of them.

Three oil paintings hung vertically, each showing a hand contortion in dramatic primary and complementary colors. The definition of each piece sharpens as you move up. On the bottom is "Gang Sign" in reds, violets, and yellows. The fingers are splayed outward, while the thumb is drawn down towards the forearm. In the middle is "Wreath". The colors are blue, yellow, and green. The fingers are each gently wrapped over the other. The topmost painting is "Temple". The fingers of both hands, in yellows, oranges and violets, are pressed together until they bend upward at a 90 degree angle from the main part of the hand.

EDS: Party Tricks (Triptych - Temple, Wreath, Gang Sign) by Veronica Usher Davenport

Hypermobile Ehlers-Danlos Syndrome (hEDS) is a genetic condition where collagen is ""printed"" incorrectly. This can make many of the joints hyper-extensive, or even slip out of place completely. You may have known other kids growing up that could do super flexible party tricks: the gymnast who could bend over backwards, the cheerleader who could drop into the splits in an instant, or the weird kid who could contort their joints (such as the artist of this work) and freak their teachers out. Chances are that they all had one of the 13 different versions of EDS.

The paintings in the EDS: Party Tricks triptych focuses on the flexibility of the hands. Because of the stretchy nature of the joints, the fingers and wrist can overextend creating otherworldly formations that have their own names in the EDS community.
~ ""Gang Sign"": (bottom) The fingers are splayed outward, while the thumb is drawn down towards the forearm.
~ ""Wreath"": (middle) The fingers are each gently wrapped over the other.
~ ""Temple"": (top) The fingers of both hands are pressed together until they bend upward at a 90 degree angle from the main part of the hand.

For more information about Ehlers-Danlos Syndrome and its related comorbidities, please visit the Ehlers-Danlos Society (https://www.ehlers-danlos.com/).

A hyper-detailed hand embroidery of various objects on a forest green background with a white, one inch grid pattern. In the center is a life-size pair of beige underwear with lace elastic waist band, with several holes worn through in the band and crotch. Draped across the underwear is a vibrant, red, elbow length glove. To the left of the underwear, lays a cigarette butt with frayed paper. A red ballpoint pen and white lighter lay on the bottom portion of the underwear.

hard to let go by Juniper Wolfenbarger

I created “hard to let go” during a period of intense grief. With the help of my doctors and disabled friends, I discovered I had Autism and ADHD after years of debilitating over-compensation to meet neurotypical expectations. This discovery, combined with my previously diagnosed PTSD and depression, Covid isolation, housing instability, and the loss of a parent, left me without a sense of security.
I clung to anything comforting, even if it was harmful. Due to sentimental attachment, I found it impossible to discard damaged or ill-fitting clothing. Even painful memories and experiences provided a familiar anchor that kept me grounded.
Using the long-form medium of hand embroidery allows me to meditate on a feeling or image. I use bright, sometimes clashing colors to communicate a sense of unease and vibrancy associated with snapshots of emotional memories.
As a genderqueer disabled person, I often feel these parts of myself invisibilized, and simultaneously, scrutinized. I am comforted by my ability to adapt and find acceptance through my chosen family in a sea of rejection and indifference. I think that by seeing “ugly” or forgotten things as precious, I can see beauty in the parts of myself I used to hide."

A 3D printed figure, scanned from the artist, lays down on a surface - the figure is laying down on her stomach with her hands under her chin and her feet in the air. Separate from the 3D printed figure are a series of handmade blankets that can be moved to cover the figure. The blankets have different designs built into them to represent different aspects of the artist's experience with disability.

Heavy by Hope Hooper

Heavy is a mixed media sculpture which includes a 3D printed figure - scanned from the artist - and handmade blankets. The figure is painted pink and covered in flocking, meant to represent the artist's desire to seem soft and joyful as a means of being approachable. The work is meant to be interactive, as the blankets fall or shift on the figure, the audience is invited to participate to replace the blankets.
This work is meant to spur conversations about the need for caregivers and how those around people with disabilities can choose to participate in acts of caregiving, or not participate. These acts may be, or at least seem, small in nature, but can have a huge impact on people with disabilities. There is also an impact on the viewer/helper, just as caregivers are impacted by the work they do to help.

The artwork contains animals, people, flowers, trees and other forms cut with scissors from flattened Orange fruit peels. Eyes are punched with sewing needles, pens or pins.

I cut things in orange peels by Elizabeth M. Meadows

I have more physical and mental health conditions than I prefer to disclose. Suffice it to say, I feel broken, defeated and overwhelmed constantly.

However, the one exception to my dark mood is my art. When my mobility became an issue I switched to smaller sculptures and jewelry. When I suffered a traumatic brain injury last year I switched to what I had on hand to make my art.

I would like to display and perform the process of creating my sculptural work in orange peels.

acrylic and synthetic lace on cardboard. Crocheted black roses sit on top of a teal crocheted background and white lace. One flower in the right lower corner has some pink and a piece of blue glass representing the artist.

I'm Not OK But I Will Be by Teresa Siwajek

I have dealt with mental health issues my whole life. As I was growing up, people would always tell me to "act right" or if I did things differently (or like everyone else) things would go better. As I got older i understood that for whatever reason I was different and even though things may not go as planned, even when things went bad I would eventually be ok.

A Picasso-style lady with an asymmetric bright pink bob, green skin and glasses is centered on a geometric multicolored background. Created with acrylics and markers.

Joyful Menace by Haze B

Part of a series of self portraits, I wanted to express the frustration of feeling fragile and fragmented. At the point of painting this piece my immune system and nervous system were both under more stress than they could handle. I was fighting off multiple respiratory infections and learning I most definitely had some sort of autoimmune issue. My life was quickly changing but I was desperate to hold on to the joy and fun and lead a life full of love rather than pain and frustration and disappointment. In the years since I've been relearning to live such a life, regardless of inflammation, chronic illness and pain, and mobility changes. Learning to love myself as whole, not just parts of me.

A digitally glitched and manipulated self portrait features the artist, a white, middle aged femme with dark hair, from their shoulders up looking toward the viewer with their eyes and facial features obscured by digital manipulation. The artist is disrupted by and recedes behind digital glitches which take the form of multi-colored lines and pixels, some of which are collaged over with thin sparkling, iridescent, and silver strips of tape that shift and move with light. It is difficult to make sense of what might be in the original photo and there are a range of textures both in the photo, through the impact of glitching, and collaging over the glitches.

Malfunctioning: July 1, 2021 7:30 AM by Brandi Lewis

Malfunctioning: July 1, 2021 7:30 AM examines the unwell body and the ways we care for ourselves when our unruly bodies do not fit within medical or social structures. I seek to make my experiences of illness visible after a long history of not being believed, taken seriously, and blamed for my un/wellness. Before I conceived of it as an artistic practice, I used to photograph myself during bouts of illness because I was afraid that I would have to provide evidence of my illness to some imagined other. My Malfunctioning (2024-Ongoing) series examines over a documented decade of this practice. In the series, I manipulate an archive of intimate moments in pain to disrupt the notion of a normative body and highlight my neurotic impulse to perform disability as a chronically ill person. While compiling these photos, a narrative and history emerged in this anxious practice, one where I prioritized legibility during moments of privacy and pain to justify my need for recovery. This archive's scope, duration, and translation illustrate the impact of pressures on disabled bodies to conform to normative, capital-driven structures and how disabled people navigate suspicion around their conditions, causing them to cater to others as a form of self-care.

My Everyday Face by Leora M Druckman

You are looking at "My Everyday Face," a sculpture representing the face I show when I am interacting with the outside world. On the outside I look like an average, happy, healthy, aging woman. My disabilities are mostly invisible. When I am feeling well enough to go out, I smile, nod and exchange pleasantries as I interact with people. These pleasantries (such as “Hello!”, "I’m Fine” and “Have a nice day!") are superficial, automatic and are represented by the repeating digital display within the sculpture. Only my closest friends are aware of the depth of my debilitating fatigue, my loss of function including hearing loss, vertigo and balance difficulties, dysfunctional immune system, cognitive changes, lack of physical energy and other challenges.

My life requires constant management due to autoimmune vasculitis, depression, a non-neurotypical brain and side effects (including diabetes) from my many medications. Inside, I am constantly working hard to maintain the delicate balance that allows me to function for at least some of my waking hours without sending my body into a downward spiral. In addition, like most of us these days, I am processing a vast amount of information about the latest upheaval or decline in our civilization and other stimuli about the world around us. This stimuli communicates many expectations of what I should look like (thin, healthy and attractive), be like (pleasant, helpful and non-confrontational) and do (producing, achieving and providing). The wires entering the sculpture represent this input and the multiple technologies (radio, internet, television, print) that bring that information to me and the state of overwhelm that it creates.

The reflecting “eyes” are how I see and relate to the world, reflecting back to others what I see in them. Processing (represented by the wild, curly, wire “hair’) all of this input and the extensive effort to maintain some semblance of a functional life often fills me with confusion, dread, anxiety and overwhelming exhaustion. These effects are represented in the black foam issuing forth from inside the sculpture, leaking out the top and through various holes around the form. The hands represent the energy that goes into controlling what I say and do in order to navigate the world around me. Sometimes, I feel like a pressure cooker about to explode. Channeling these feelings into my art gives me a way of understanding and expressing what I am experiencing in a way that everyday surface interactions do not.

Video Description: A ceramic sculpture with abstract facial features. The "eyes" are purple and have reflective spheres inside. The "mouth" is an open deep pink hole which has a digital display inside repeating niceties like "Hello", "I'm fine" and "Have a nice day!" Painted over the mouth is a hand in a light orange. Multiple wires of different colors and types run into the piece and there is curly, purple, wire "hair" on the top. Black foam emerges from the top of the form and flows out of various holes in the sculpture.

Digital art resembling a cut paper collage, showing a cartoonish light skinned girl with brown hair and blue eyes. She has a determined look on her face and is gazing upwards, toward a distant star set in a deep blue and purple watercolor sky. Four featureless, pastel colored figures are lifting the girl up over the edge of a brown cliff. Beyond the cliff is a whimsical landscape with fanciful mint green trees and bubble gum pink clouds, and hanging in the sky are three planets and a rocket ship.

Onwards and Upwards by Rebecca Boutin

I was born with a disability, so my whole life has been a challenge. But it also hasn’t been unbearable. Over the years I’ve had a multitude of people helping me out in various capacities; whether it be family, friends, social workers or medical personnel. Through their loving support they’ve helped me be a better person, and achieve things I never would have thought possible otherwise.

Through this art I strive to illustrate how my support network lifts me up and keeps me moving forward, and onward to greater things. The cliff represents the difficult journey; and the whimsical background represents the wondrous things that can be achieved.

As expressed here I believe I’m in the middle of that journey, and the things I truly desire still feel far off. But slowly and steadily; my team and I are getting there, and we’re doing it together.

This acrylic painting features eleven faceless human figures, each outlined in bold, dripping paint in shades of red, orange, blue, purple, pink, yellow, and green. Two figures use wheelchairs, two use crutches, and three have white bandages covering their eyes. The figures vary in body types and gender expression, standing or seated against a light background with vertical paint drips extending from each body, creating a sense of motion and emotion.

Unseen, Yet Powerful by Desiree Delonia

Unseen, Yet Powerful is a celebration of intersectionality, resilience, and identity. This faceless, vibrant acrylic painting honors the beauty and strength of disabled individuals across genders and body types. Through dripping paint and bold color, I invite viewers to look beyond the surface and see the dignity, complexity, and presence of people who are often rendered invisible. The figures may be faceless, but they are far from unseen.

An acrylic finger painting with smudged, flowing strokes of warm, bright hues interspersed with darker, less comforting shadows. Areas of light are dotted throughout the center of the painting. The painting is intended to be a very abstract depiction of a city in the rain at night at street level.

Walk in a Waking Dream by Trystan Yoder

This is a finger painting, done in acrylic, inspired by rain-streaked views of a city at night through the lens of someone who feels lost between dreams and reality. Narcolepsy has required me to make many unconventional adjustments to how I move about the world, and the uncertainty and vulnerability that comes with sleep attacks can shift the mundane into a new, often disconcerting perspective at a moment's notice. In reference to the comforting pull of falling asleep versus the fear of being in an unfamiliar area during a sleep attack, the colors and shapes may feel harmonious and friendly in some areas, while others are interspersed with shadowy, unrecognizable figures. Creating these paintings helps me to learn how to process coexisting with these vulnerabilities.

A two-tone ceramic circular vase with textured lines on the side.

City, States, Boarders by Donna Ray

The inside storyline about "Cities, States, & Boarders." It's composition two kinds of stoneware clay. As we all know is mud from mother earth. It is two sided. Shape of the floral Brick/Vase is oblong round like the earth! Goal! Creating, social justice art that can express the current global issues affecting all humanity. Warfare & political crises. Infrastructures being destroyed at an alarming rate. It is due to these situations increase of new disability populations communities everywhere. It is through these incidents of war & political upheavals many people majority of which are women & children died. Social justice art as a historical vignette has proven to be therapeutic to me as an artist.

Symbol #1 triangles pointed downward are symbolically feminine. These triangles are located at the top of the brick... the positioning of the triangles interprets nurturing, receptivity, divinely feminine shaped artistically like the womb of woman. #7 triangles/ metaphor of continents which fade out & away as they round the collar of the floral brick. This gives the illusion of disappearing women. Hidden meaning secret women are being eliminated across the continents.

Symbol #2 The flower of motivational choice the pansy. Due to its global social meanings of colors & usage around the world. An important hidden symbol of resources for survival. Food, energy located inside those pansies (heart petals Edible & Decorative flowers) shaped fanning into circular pods.

The dots inside pansies on face of brick face, represents populations of people & their belongings at the borders. Designed on the crown of the brick. Stylized pansy circular disk total (3). The pansy is a colorful flower used as a border in many gardens around the world. It's the secret flower of remembrance. Lost love hidden secrets.

Symbol & metaphor #3

There are two meanings of the words Border verses Boarder. In every geographical territory around the world countries, states, cities, towns, & counties there's invisible lines drawn known as Borders.

The usage of boarder pluralism boarders in reference to this work of art Cities

States & Boarders is about the plight of people at the border lines in various locations around the world. A boarder can be a homeless immigrant fleeing democide or seeking political asylum. The boarder oftentimes is a female with children hers & orphans looking for a haven across the border.

In established countries like the United States, Canada, the boarder @ the border, can be individuals relocating cities to states seeking stability in housing, career growth, financial stability coming out of hardships. These residential citizens have now due to their plight have become temporary boarders in another city, state, or country.

The other side of Floral Brick Vase.

Other symbols Keys & wire on the collar of the flower brick. Floral patterns vertical, horizontal triangular on the other side. On most maps mountains & hills are represented by angles.

Key meaning is a legend related to mapping locations in geography. Key mean access, security, authority, ownership, & protection. In biblical language the meaning of visitors having the key to the House of David is to have freedom inside city limits. There 7 keys for seven continents.

Special note* keys mean many things to many cultures. I do encourage all viewers of this art to explore the symbols listed on Cities States & Boarders.

Define floral (aka flower) Brick. Is a vase popularized during the 18th Century. There is speculation they might had been used as inkstands for quills & pens. Traditionally flower bricks are shaped like a building brick

Three distinct different sets of jewelry- 1. “Shards Of Loretta” a necklace and earring set made from porcelain shards with a pattern of brown bark and green ivy leaves. The necklace is made of a tan cord with a knot that holds a wooden bead and a porcelain fragment. The earrings feature a shard of porcelain with the same pattern. 2. “For Rodney - Crafted With Love” a necklace and earring set made using shards of a porcelain mug in various shades of blue. The necklace is made of a red cord with a knot that holds a white bead and a porcelain fragment that shows a partial blue-toned portrait. The earrings carry fragments containing blue lettering and lines. 3.” Bound By Grief, Forged by Love” a matching pair of handmade spoon rings featuring an ornate floral urn design etched into the metal which is wrapped around itself.

Shattered with Sorrow. Crafted with Love. By Jessica Wood

Using art as a form of grieving and therapy, especially when creating jewelry or pieces made from a passed loved one’s belongings, provides a deep and meaningful way to process loss. For me, crafting necklaces, rings, bracelets, and artwork from these cherished items allows me to channel my grief into something tangible and beautiful, turning the pain into healing. Each piece I create holds a personal connection, making it a reflection of love and memory that transcends the physical loss. Sharing these creations with others, whether through requests or selling pieces, not only helps me process my own emotions but also offers others a way to honor their own loved ones. The act of wearing or displaying these heartfelt items can bring comfort and healing, offering a shared space for grief and remembrance. Through this process, I find peace, and it’s my hope that others do, too, as they carry a piece of their loved one with them in the art I create.

1. “Shards Of Loretta”-
This handmade jewelry set was created from the broken ceramic of my late mother’s cherished jewelry box. In a moment of deep grief, I shattered the box—and from those pieces, I began to create. Each shard was transformed with care into wearable art as a way to honor her memory and share her spirit. The ivy design represents growth, connection, and endurance—symbols of the love she gave and the community I now build in her name. This piece is not just jewelry; it’s a tribute, a healing process, and a story of turning loss into legacy.

2. “For Rodney - Crafted With Love”
This handmade jewelry set was created from a vintage mug once treasured by Rodney, the late father of my partner, Domenica. After his passing, the mug was shattered—not in destruction, but as a symbol of deep sorrow and transformation. Each shard was carefully shaped into a pendant and earrings, preserving his memory through art. The bold red cord holds a porcelain piece etched with a quiet, blue-toned portrait, while the earrings carry fragments of lettering and lines. This piece honors Rodney’s legacy and shares his story with the community, spreading love, remembrance, and the beauty of healing through creation.

3.” Bound By Grief, Forged by Love”
This matching pair of handmade spoon rings was crafted from vintage silverware found in Domenica’s garage—treasured pieces once belonging to her late loved ones. As partners walking side by side through grief, I created these rings as a symbol of our bond, resilience, and shared remembrance. The ornate floral urn design etched into the metal honors life and memory, while the act of transforming forgotten spoons into wearable art reflects my love for jewelry making and the healing power of creation. These rings represent not just love, but unity in loss—and strength found in one another.