ARTIST STATEMENT: Virginia Maksymowicz is a sculptor who was born and raised in Brooklyn and who currently lives in Philadelphia, PA. She received a B.A. in Fine Arts from Brooklyn College; studied figurative sculpture at the Brooklyn Museum Art School; and received an M.F.A. in Visual Arts from the University of California, San Diego. Immediately after graduation, she worked as an artist-in-residence for the CETA Artists Project in New York City.
She has exhibited her work at the Rotunda Gallery, Franklin Furnace, Alternative Museum, the Elizabeth Foundation and Grey Gallery in New York City, as well as in college, university and nonprofit galleries throughout the U.S. and abroad.
She is a past recipient of a National Endowment for the Arts fellowship in sculpture, and over the years has been honored with numerous other grants and awards. Her artwork has been reviewed in Sculpture Magazine, The New York Times, New York Newsday, The New Art Examiner and The Philadelphia Inquirer. Her series, The History of Art, appears on the cover of The Female Body, published by the University of Michigan Press in 1991.
Most recently, she was a visiting artist at the American Academy in Rome, an artist-in-residence at the Powel House Museum in Philadelphia, and a fellow at the Vermont Studio Center.
Maksymowicz has been a visiting professor of art at a variety of colleges and universities throughout the United States including Oberlin College, the Minneapolis College of Art and Design, and the Moore College of Art and Design in Philadelphia. She is currently Associate Professor of Art at Franklin & Marshall College in Lancaster, PA.
For more than 30 years, Maksymowicz has been developing a type of imagery that addresses cultural and political issues in a nontraditional, but understandable, form. A hybrid of sculpture and painting, the work is usually displayed as wall relief, with figures or objects sometimes juxtaposed with narrative texts. Maksymowicz has a particular interest in feminist issues and she often focuses on the particular circumstances of a range of women, both in past history and in current times.
For the past 10 years, she has been interested in combining the female body with architecture in ways that become visual metaphors for the societal roles women play.