Victoria Guerina Art

Bronze, 18 x 7 x 10 inches

Bronze, 15 x 6 x 8 inches

Resin, 11 x 32 x 25 inches

Bronze, 11 x 14 x 10 inches

Bronze, 7 x 14 x 4 inches

Terra cotta, 18 x 14 x 12 inches

Bronze, 24 x 20 x 14 inches

Wax, 18 x 8 x 12 inches

Bronze, 15 x 6 x 12 inches

bronze, 12.5 x 6 inches

Anna Gardner (1816-1901), abolitionist, writer, teacher and women’s rights activist, from Nantucket Island.

Bronze 23 x 18 x 10inches

Woman’s rights activist and suffragist. (1885-1977) A major contributor to the fight for the passage of the 19th Amendment in 1920. Leader of the National Women’s Party and co-author with Crystal Eastman of the Equal Rights Amendment.

Bronze, 22 x 14 x 16 inches

Susan B. Anthony (1820 - 1906), was the face and voice of the Women’s Rights and Woman Suffrage Movements in the U.S. in the 19th Century. She and Elizabeth Cady Stanton worked together from their meeting in 1851 until the latter’s death in 1902. Anthony was a visionary leader, activist and speaker. She died before the 19th Amendment was passed, something she worked her whole adult life to achieve and was never able to legally vote.

Bronze 18 x 9 x 10 inches

Women’s Rights activist who headed the first women’s rights convention in Seneca Falls, NY in 1848. She became the intellectual and spiritual energy behind the cause for women’s rights and woman suffrage. Together with Susan B. Anthony, they became the driving force that inspired thousands of women between 1848 and 1920 to speak, write and march for the right of women to vote in the United States. She did not live long enough to see the passage of the 19th Amendment to the US Constitution and so was never able to legally vote herself.

Bronze, 20 x 14 x 16 inches

1867 - 1923 Suffragist from Rhode Island. “[T]he sane point of view [is that] all objections to the ballot for women are but protests against progress, civilization and good sense.”

Cold Cast, 20 x 10 x 9 inches

Woman’s rights activist and anti-slavery advocate from Nantucket Island, MA. She was instrumental in the organization of the first women’s rights convention in Seneca Falls, NY in 1848.

Bronze, 23 x 18 x 15 inches

The first woman to serve on the U.S. Supreme Court.

Plaster relief, 34 × 28 inches

Clay model.
Ms. Reininghaus (b. 1922 - )was the first female president (1983-1987) of the prestigious Salmagundi Club in New York City. The art club was founded in 1871 and it’s membership has included notable artists such as Norman Rockwell, Augustus St. Gaudens and N.C. Wyeth. Ms. Reininghaus is an oil and pastel painter and has won over 150 awards for her work.

Clay, 15 x 12 inches

Woman’s rights activist from Illinois who lived and worked in Oregon. She founded The New Northwest, a newspaper devoted to women’s rights including suffrage. She actively supported laws that improved the lives of women in Oregon.

Clay, 18 x 14 inches

Sojourner Truth, a freed slave, was an active public speaker on issues of abolition and women’s rights. Her direct and spontaneous presentations at women’s rights conventions earned her recognition and helped to advance these causes.

Wax, 18 inches

Model of the two women’s rights activists. Stanton stayed at home with her 7 children writing speeches on women’s rights and suffrage that the unmarried Anthony would travel around the country to deliver. The relationship of these two women was close and inspired thousands of women over the course of 72 years to work for the ratification the 19th Amendment to the US Constitution in 1920, giving women the right to vote.

Clay, 14 x 12 x 5 inches

Model of Elizabeth Cady Stanton handing a speech she had written to Anthony. Stanton remained at home with her large family writing speeches on women’s rights while Anthony traveled the country delivering them.

Clay, 14 x 14 x 10 inches

Unfinished model of the two women standing together discussing the speech Anthony is about to give and the moment has arrived for Anthony to step up to the podium.

Clay, 14 x 6 x 5 inches

Eight year old Martin was one of three victims of the Boston Marathon bombing in 2013. Inspired by the makeshift memorial left by the public on Boylston St., singer/songwriter Linda Chorney wrote a song and music video titled “Martin”. We spoke about making a bronze tribute to Martin and his message of peace inspired by a photo that appeared on the internet of Martin holding a sign he’d made for a school project reading “No more hurting people, Peace”. Bridgewater State University, where Martin’s parents met, placed the life size statue of Martin on their campus to coincide with the naming of the Martin Richard Institute for Social Justice at Bridgewater State University. It’s our hope that Martin’s message of peace and goodwill will be a lasting inspiration.

Bronze, 58 x 23 x 30 inches

This bronze statue stands in the Firefighter's Memorial Park, in honor of the firefighters of Bristol, RI.

photo credit: Zack Frank

20 life size bronze figures representing some of the attendees of the First Women’s Rights Convention in Seneca Falls, NY in 1848

Located at the Women’s Rights National Historic Park in Seneca Falls, NY. The twenty-figure sculpture in the Visitor Center represents attendees of the first women’s rights convention of 1848. I created this project with sculptor and Boston University professor Lloyd Lillie and sculptor Hilary Hutchison. Some of the convention attendees represented include Elizabeth Cady Stanton, Lucretia Mott, Frederick Douglass, Mary Ann and Thomas McClintock, Jane and Richard Hunt. Approximately 300 men and women attended the 2-day convention, 100 signed the controversial Declaration of Sentiments which outlined the rights to which women were entitled including suffrage.

Bronze, 72 x 240 x 360 inches

Elizabeth Cady Stanton

Lucretia and James Mott

A young park visitor looks up to Elizabeth Stanton.

Miguel Hidalgo and Jose Morelos were two priests who led the Mexican Revolution for independence from Spain in 1810. I created this monument with sculptor and Boston University professor Lloyd Lillie. It is located in Chilpancingo, Guerrero, Mexico.

Bronze, 60 x 96 x 42 inches

Portrait of Miguel Hidalgo in clay.

Turkish businessman, philanthropist and founder of the Rahmi M. Koc Museum of Transportation, Industry and Communication in Istanbul, Turkey where this sculpture resides. I created this artwork with sculptor and Boston University professor Lloyd Lillie.

Bronze, 60 x 48 x 48 inches

Clay portrait of Mr. Koc.

With some young museum visitors.

A heron lifts into the air from the water, dragging his feet and spreading his wings. Paper cast. 20 x 16 inches

Paper cast 20 x 16 inches

Paper cast, 12 x 15 inches

Paper cast, 17 x 21 inches

This piece is a composition of long and short fibers. Short cotton fibers make up the paper background and long hemp and jute fibers are embedded or attached with cotton thread.

Paper Cast, 20 x 16 inches

Our brains control our bodies, thoughts and everything we do and think from the smallest part of ourselves to contemplating and exploring the outer reaches of the universe.

Paper Cast, 22 x 14 inches

Paper cast 12 x 12 inches

Paper cast, 20 x 16 inches

Paper cast 11 x 14 inches

Paper cast, acrylic, foil - 20 x 16 inches

A depiction of some of the symptoms of a disorder known as Hakim’s Triad, including frequent falling and loss of memory.

Paper cast, 11 x 14 inches

The ventricles within the brain are fragile structures that produce, circulate and act as a reservoir for cerebrospinal fluid. Here the paper medium expresses the delicate, hidden and complex nature of these brain structures.

Paper cast, 20 x 16 inches

A sense of motion is achieved by turning each irregular swirl pattern 1/4 turn from the one before it moving left to right. The pieces are actually “still” but appear to be “in motion”.

Paper cast 20 x 16 inches

Charcoal on toned paper, 8 x 12 inches

Pastel pencil on toned paper 11 x 14 inches

Pastel pencil on toned paper 18 x 24 inches

Pastel pencil on toned paper, 11 x 14 inches

Charcoal drawing on toned paper. 11 x 14 inches

Charcoal on toned paper, 11 x 14 inches

Pastel and pastel pencil on toned paper 8 x 24 inches

Pastel and pastel pencil 8 x 24 inches

Charcoal pencil on toned paper 11 x 14 inches

Charcoal on paper, 18 x 24 inches

Charcoal on paper, 18 x 24

Charcoal on toned paper, 14 x 11 inches

Charcoal on paper

18 x 24 inches

Charcoal on toned paper, 18 x 24 inches

Pastel on paper, 18 x 24 inches

Pastel and colored pencil on toned paper, 18 x 24 inches

Pastel and colored pencil on toned paper 18 x 24 inches

Charcoal 17 x 14 inches

Goddard Memorial Park, East Greenwich, RI

Charcoal 17 x 14 inches

Goddard Memorial Park, East Greenwich, RI

Charcoal 14 x 17 inches

Goddard Memorial Park, East Greenwich, RI

Charcoal 17 x 14 inches

Goddard Memorial Park, East Greenwich, RI

I worked with PhD candidate Galen Wilcox of the Woods Hole Oceanographic Institute, who is studying the flow of currents around Antarctica. Understanding how ocean currents are formed and their movements, helps us understand more about the changing conditions in the earth’s climate.

When ice forms, it results in brine rejection, where salt is expelled and dense water forms along the continental shelf, a submerged portion of the continent. This cold and salty water, known as Antarctic Bottom Water, sinks to the deep ocean because of its high density. It flows away from the continent due to gravity and the earth’s rotation along troughs in the shelf floor and then flows off the shelf and sinks to the ocean floor. This movement of Antarctic Bottom Water creates ocean currents that travel around the globe, and has a significant effect on the earth’s climate. (1)

This artwork shows a very small section of the Antarctic coastline. The continent, and the Southern Ocean which surrounds it, is covered in ice. However some sections of the ocean surface near the coastline are free of ice in areas known as Polyinyas. As cold winds blow over the ocean from the continent, ice forms periodically on the surface of the Poynyas, releasing salt into the ocean and creating cold, dense Antarctic Bottom Water.

This work represents the Antarctic continent covered in ice (cast paper). The top represents a Polynya with ice forming on the water surface. The sides of the box represent the Southern Ocean with Arctic Bottom Water (dark alcohol ink) sinking toward the floor of the continental shelf.

The red ink represents a warming ocean moving toward the continent, and along the continental shelf. This water threatens to melt the ice along the continent, disrupting the delicate interaction of ice and Antarctic Bottom Water formation and changing ocean current patterns around the world.

This artwork represents the flow of water created when ice forms on the ocean surface in polynyas, leaving high concentrations of salt and creating cold, dense water known as Antarctic Bottom Water (dark ink). The dense, salty bottom water sinks to the floor of the continental shelf and flows away from the continent along troughs in the shelf floor.

This flow is generated by gravity and the rotation of the earth. The bottom water eventually flows off of the shelf and sinks to the ocean floor creating ocean currents that circulate around the earth’s oceans. Disruption of this water flow by warming temperatures, will change the pattern of ocean currents around the world causing significant consequences for our climate.

This artwork is composed of cast paper representing the Antarctic continent and the pattern of troughs on the continental shelf floor. Alcohol inks represent the bottom water flow from it's formation in polynyas to its path off the shelf to the ocean floor.

I worked on this project with PhD candidate Sara Gonzalez of the Woods Hole Oceanographic Institute. We created an artwork showing the results of warming ocean water on the growth of Saccharina latissima also known as Sugar Kelp.

This kelp is edible and is grown and harvested along the northeast and northwest coasts of the U.S. and Canada, northern Europe, Korea and Japan. It is one of the species of kelp used in Japanese cuisine known as kombu.

Sugar Kelp is a cold water species and grows along the coastline as long brownish yellow-green leaves, called blades, that can grow up to 16 ft. (5 meters) long. The blades are anchored to rocks on the ocean floor by claw-like rhizoids. It is farmed and harvested and sold fresh or dried for use in a variety of dishes. (2) (3)

The research focused on identifying genetic variants that are able to grow in warm water. No genetic recombination was done, just the identification of random natural mutations that allowed a small portion of the blades to grow in warm water. These warm water variants will be used to further understand how Sugar Kelp propagates and to allow the species to flourish as the oceans become warmer.

This artwork used sugar kelp blades harvested by the research team. They were boiled for 3-5 hours with soda ash to form a mash. The mash was spread out on a plastic sheet and dried for up to two weeks. The mash was shaped as much as possible as it dried. However, the kelp shrunk up to 40% and continuously changed shape as it dried.

The form on the left represents a healthy warm water variant attached to a wood base with rhizoids made of cloth covered wire and threaded rod. The form on the right represents normal cold water kelp in a warm water environment. These blades are small in size, turning white, and disintegrating before they reach maturity. The white portion of this form is made of cast paper representing disintegration. Together these two forms provide a striking contrast and show the dramatic changes to wildlife and the economy caused by warming oceans.

References
1) https://royalsocietypublishing.org/doi/10.1098/rsta.2013.0047

2) https://www.wildlifetrusts.org/wildlife-explorer/marine/seaweeds-and-seagrass/sugar-kelp

3) https://en.wikipedia.org/wiki/Saccharina_latissima