We’re excited to introduce you to the always interesting and insightful Donna Dodson. We hope you’ll enjoy our conversation with Donna below.

Donna, thanks for joining us, excited to have you contributing your stories and insights. Has your work ever been misunderstood or mischaracterized?

In 2016 I created a monumental outdoor sculpture, names Seagull Cinderella with a bird head and a woman’s body. She is as common as the birds we see at the beach. Yet she is uncommon, like Marilla in Anne of Green Gables, bound by the sweet virtues of her character. Her full length gown is alive with neon daisies and flower power! This piece is celebrating a common sea bird as the iconic American princess, Cinderella.
The curator, Jessica Bregoli, selected my sculpture, Seagull Cinderella, for the Seaport Art Walk in New Bedford, Massachusetts. I installed the sculpture on a highly visible site pre-selected by the Seaport Art Walk Committee. After being on view for about a month or so, a petition was filed by a local resident to “Remove the Seagull with Boobs Statue in Downtown New Bedford.” Therein started the public controversy:
The July 16th petition spawned several counter petitions: “Stop the petition demanding removal of the seagull statue with boobs,” “SAVE New Bedford’s ‘Boob Duck’- ENHANCE its bust!” “Petition To Have The Breasts Chiseled Off of the Venus De Milo because they make Raymond C. Uncomfortable” petition, which states: “Because art should clearly be censored so you don’t have to look at suggestive breasts.”
and “Make The A** Bigger on the Seagull Statue In Downtown New Bedford,” petition.
And then came the media frenzy:
July 20th, 2016, Fun 107 FM, “Remove Seagull with Boobs Statue in Downtown New Bedford or not?” By Christine Fox
July 20th, PYX 106 FM, “Mass. City Wants Statue Of Seagull With Boobs Removed.”
July 21st, 2016, The Boston Globe, “Should this busty seagull statue remain in New Bedford?” by Sophie Haigney
July 21st, 2016, South Coast Today, “Seagull Cinderella: Love or hate her. She has got people talking in New Bedford,” by Curt Brown
July 22nd, 2016, Boston Magazine, “New Bedford Residents Are Feuding Over a ‘Seagull with Boobs’,” by Madeline Bilis
July 23rd, South Coast Today, “A ‘Seagull’ flying: Inspired artists start sticker movement in response to criticism,” by Mike Lawrence.
July 24th, 2016, WJAR Channel 10 News, “Petition started to remove controversial sculpture,” by Matt Reed
July 24th, 2106, WBZ-TV News, “Hundreds Sign Petition Demanding Removal Of Seagull Sculpture,” by Kathryn Hauser.
July 25th, 2016, The Daily Beast, “This Is The ‘Seagull Cinderella’ Sculpture Outraging Massachusetts,” by Tim Teeman
July 25th, 2016, Artnet, “Why Are People Going Crazy over this Public Art Sculpture?” by Brian Boucher
July 26th, 2016, New York Magazine, “What Are People Mad About Now? Oh, It’s a Seagull Sculpture With Big Boobs,” by Gabriella Paiella
July 26th, 2016, Latest.com, “SEAGULL WITH BIG BREASTS FREAKS OUT LOCAL COMMUNITY,” by Peter Van Buren
July 26th, 2016, Fine Art Biblio, “‘Seagull Cinderella’ Donna Dodson.”
July 29th, 2016, WHDH7 News Boston, “Petition calls for removal of ‘Seagull Cinderella’ in New Bedford,” by Kris Anderson. Also posted on Youtube.
July 29th, Reddit.com, “New Bedford Residents are feuding over a Seagull with Boobs”
August 1st, 2016, Mashable, “Seagull with boobs statue is tearing a Massachusetts town apart,” by Andrea Romano
August 1st, 2016, The Daily Dot, “Angry man wants town’s statue of seagull with boobs removed,” by David Britton
August 1st, 2016, IHeartRADIO, “Seagull Boobs?,” by Klinger
August 1st, 2016, Brobible, “Boston-Hating Guy Wants Statue Of Seagull With Boobs Removed Because It Makes His Town Look Like A Joke,” by Neal Lynch
August 1st, 2016, RapidNews.com, “SEAGULL CONDITION OF THE BREAST IS TEARING THE CITY APART MASSACHUSETTS.”
August 1st, 2016, Someecards.com, “Seagull statue with big boobs causes even more massive controversy in Massachusetts town,” by May Wilkerson
August 1st, 2016, Pop Culture Madness World News, “Seagull Cinderella’s Massive ‘Assets’ Are Stirring Up Controversy In Massachusetts,” by Kristyn Clarke
August 1st, 2016, The Daily Mail, “Sculpture of a seagull with BOOBS is ruffling feathers in a Massachusetts city as locals brand it ‘offensive’ and ‘juvenile’ and demand it is removed,” by Alexandra Genova
August 1st, 2016, #follownews.com, “Boston-Hating Guy Wants Statue Of Seagull With Boobs Removed Because It Makes His Town Look Like A Joke.”
August 1st, 2016, cheezburger.com, “Drama Plagues a Small Town as They Argue Over This Seagull With Boobs.”
August 1st, 2016, NVS24.com, “Newly installed ‘Boob Seagull’ statue is ruffling feathers in a Massachusetts city after locals brand it ‘offensive’ and ‘juvenile'”
August 1st, 2016, Metachat.com, “Hey Wanna See a statue of a Seagull With Boobs?”
August 1st, 2016, News from Niue, “Seagull with boobs statue is tearing a Massachusetts town apart.”
August 1st, 2016, Reddit, “New Bedford Residents Are Feuding Over a ‘Seagull with Boobs'”
August 1st, 2016, Sputnik News (Turkey), “Memeli Marti Heykeli Bir Kenti Ikiye Boldu.”
August 1st, 2016, United States Today, “Seagull with boobs statue is tearing a Massachusetts town apart.”
August 2nd, 2016, WEEI FM, “People in New Bedford freaking out about statue of seagull with boobs,” by Jerry Thornton
August 2nd, 2016, Americanuck Radio, “SEAGULL WITH BOOBS STATUE IS TEARING A MASSACHUSETTS TOWN APART.”
August 2nd, 2016, International Skeptics Forum, “Boob Seagull statue has outraged folks in Massachusetts.”
August 2nd, 2016, Angle News, “Newly installed ‘Boob Seagull’ statue in Massachusetts city branded offensive by locals.”
August 2nd, 2016, Mogaz News “Newly installed ‘Boob Seagull’ statue is ruffling feathers …”
On August 13th, Jessica Bregoli, Eric Johnson and Gallery X organized A Seagull Cinderella Pop-up Show in support for my sculpture since the media coverage was negative and did not give voice to the people who loved the sculpture. Artists created t-shirts, necklaces, collages, comics, paintings, sculptures and stickers inspired by Seagull Cinderella. The proceeds were donated to a charity in New Bedford that serves women with breast cancer. In addition, the public dialogue shifted to include more voices of support…
August 3rd, 2016, jummyjeenz.com, “Proud to be a Woman,” by Deana Tavares
August 9th, 2016, South Coast Today, “Attention Benefits Seagull Princess Artist and Community,” by Jamie Uretsky
August 14th, 2016, jummyjeenz.com, “Seagull Cindy Goes to the Beach,” by Deana Tavares
On August 19th, “Seagull Cinderella has a visit from a new friend, The Princess of Whales”
August 19th, 2016, Boston Globe, “New friend joins New Bedford ‘seagull’ sculpture,” by Steve Annear
August 19th, 2016, South Coast Today, “‘Seagull Cinderella’ sculpture briefly gets whale friend at Route 18 intersection,” by Mike Lawrence
August 19th, 2016, 1420 WBSM and Fun 107 FM, “‘Seagull Cinderella’ Gets New Friend, Albeit for a Few Hours,” by Greg Desrosiers
Since the Seaport Art Walk was only a temporary outdoor art show, Seagull Cinderella returned to Maynard on October 15th, 2016. My home town welcomed her back from her triumphant tour of New Bedford where my intrepid gull found herself embroiled in a bit of an uproar. They were talking about her far and wide. But Seagull Cinderella stood fast. Her supporters rallied around and created art in her honor. When she returned to Maynard, the artists in town held a pop up art show at a local art gallery. The proceeds from the art sale were donated to the Virginia Thurston Healing Garden that serves women who are experiencing breast cancer. Seagull Cinderella has remained in my front yard ever since as a local landmark. The Town of Maynard issued an official proclamation declaring Oct 15th as “Seagull Cinderella Day.”

Donna, before we move on to more of these sorts of questions, can you take some time to bring our readers up to speed on you and what you do?

My childhood passion for climbing trees was much more than a hobby; the connection I felt to trees was profound; little did I know that trees would show up again later in my life as an artist. My parents both grew up on farms, and held no romantic idealism about ‘returning to the land.’ Both had the chance to pursue degrees in higher education and they took them. As a result, my dad’s career took them far from home and their farms in Illinois. Determined to continue the family’s upward mobility, I graduated 2nd in my public high school class, completed a pre-med summer school program at Phillips Academy in Andover, Massachusetts and planned to become a doctor. In 1986, I enrolled in Wellesley College to pursue pre-medical studies, but I needed a creative outlet, so I signed up for a pottery class with Makoto Yabe. My career trajectory was forever altered. I decided to pursue a life and career as an artist.
I graduated cum laude in 1990 and went on to master wheel thrown clay. I took up etching and printmaking in Boston with Nan Hamilton and Selma Bromberg. I searched for meaning in my life through writing poetry, drawing with my non-dominant hand and designing graffiti on clothing. I was desperate to stop smoking. The spiritual breakthrough that allowed me to quit was when I began to feel guilty for littering fiberglass filters on the ground. I started picking up trash on my local walks in the parks around the city.

Like the scene in Close Encounters of the Third Kind, where the character builds a mountain in the middle of his living room from debris compelled by an unknown force, I started assembling found object sculptures on the floor of my studio. When I looked around, I noticed that I was creating monumentally large faces and human figures that filled the rooms in my apartment. This discovery led me to the career I had been searching for, during the past ten years.

My parents were supportive of my interest in the arts, and during one of our museum visits, my mother said, “You know, each one of these artists studied with someone.” When I met Joseph Wheelwright in his studio in the South End during their annual Open Studios, my mother’s advice rang in my ears. Wheelwright invited me to join his woodcarving master class. To pay for the classes, I started apprenticing in his studio. The student teacher relationship evolved into a mentoring relationship over the course of several years.

At the time, I was reading Judy Chicago’s Through the Flower. I started making animal-headed female figures that were feminist takes on classical male myths. My first figure was called Pega-sis, and it was a horse-headed female figure, reconsidering Pegasus, the traditional horse-with-wings. My work transformed from my earlier studies using found objects, into a mature body of work that I continue to pursue today.

In 1997, I moved to Jamaica Plain and started showing my work in Open Studios. I attracted the interest of Artana Gallery in Massachusetts and Gallery Wright in Vermont. I started exhibiting in these two commercial galleries in addition to showing with local art associations: Cambridge Art Association, Concord Art Association, Provincetown Art Association and the New England Sculptors Association.

From 2000-2005, I entered just about every single juried show I could find. I won awards from Woman Made Gallery in Chicago, Illinois, Blackstone River Gallery in Woonsocket, Rhode Island, and Caelum Gallery in New York City. From 2005-2010, I was invited to show in many notable academic exhibitions such as “Archetype and Whimsy” at Gordon College, “Branching Out: Explorations in Wood” at Stonehill College, and “Wildlife/Wild Life” at Mount Ida College. My work was also featured in a solo show at Pittsburg State University in Kansas. My breakthrough occurred when I was invited to a solo show with the Fountainhead Gallery, and group shows with the Catharine Lorillard Wolfe Art Club and the National Association of Women Artists in New York City. In addition, reproductions of my work were collected into the Franklin Furnace Artist Book Collection at the Museum of Modern Art in New York in 2003 and to the Artists Space Artists File at the Museum of Modern Art in New York in 2006.
I won national recognition for my work from the George Sugarman Foundation in 2007, and I was invited to join the Boston Sculptors Gallery in 2008. I began exhibiting my work in regional commercial galleries such as Gallery Ehva in Provincetown, Massachusetts, The Mill Brook Gallery and Sculpture Garden in Concord, New Hampshire and Limner Gallery in Hudson, New York.

2010 was a transition year for my work because it became very large. After years of hearing people say my indoor gallery work had a monumental feeling, I started to make monumental outdoor works of art, to reflect the scale that my artwork implied. I branched out from using wood and incorporated Styrofoam, cement and pigments into my signature totemic works. In 2011, I was invited to participate in the first Verbier 3D Foundation Residency and Sculpture Park in Switzerland. I created Baby Bringer, a 12-foot tall stork-headed pregnant female figure that is still perched in the Swiss Alps.

Following the success of my international residency in Switzerland, the Boston Sculptors Gallery launched “Convergence,” a six-month public art project on the Christian Science Plaza in Boston in 2013. My work won critical acclaim from Sebastian Smee, the Boston Globe’s Pulitzer Prize winning critic. In 2014, members of the Boston Sculptors Gallery were invited to work in residence at the School of Fine Arts in Cusco and to exhibit in Peru at the Qorikancha Museum. I was awarded a Guild of New Hampshire Woodworkers Education Grant to pursue this opportunity. I created Pumita and Condorita, animal and bird headed goddess figures referencing ancient mythology in Peru.

From 2010- 2015 I expanded my commercial network of art galleries to include Blue Hollomon Gallery in Anchorage, Alaska, Leich Lathrop Gallery in Albuquerque, New Mexico and Rice Polak Gallery in Provincetown, Massachusetts. In 2012, my work was curated into the show, “Permanent Collection” at the Nancy Margolis Gallery in New York City by Edward Del Rosario. I was featured in the “Fountain Art Fair” during New York’s Armory Week from 2012-2014. Beyond these commercial opportunities, my artwork was exhibited in solo shows at the Carving Studio and Sculpture Center in Vermont, The Boston Convention and Exhibition Center and Boston Children’s Hospital. In addition, my work was collected by the Dana Hall School in Wellesley, Massachusetts in 2012, the Davistown Museum in Liberty, Maine in 2013 and the Provincetown Art Association and Museum in 2014.

From 2010-2015, I exhibited my monumental outdoor works in over 20 exhibitions throughout New England. I was awarded first prize in the Fruitlands Museum “Art in Nature” show in 2013 for my piece, The Elephant Oracle. In 2014, my work Seagull Cinderella was included in the 2014 “Biennial Sculpture Invitational” at the Krasl Art Center, a national honor in Michigan. In 2015, I created my largest woodcarving to date, a 12-foot tall Monument to the First Female President of the USA and to the Idea that Every Girl Can Become the President of the USA. This piece was exhibited at Chesterwood, the historic home of Daniel Chester French in a group exhibition with the Boston Sculptors Gallery. The piece was created and named before Hilary Clinton announced that she was running for office. It traveled to a number of municipalities, and was included in a number of public art projects, attracting press attention. I do not think the debate about women’s national leadership in this country is over.

In 2016, I had my first solo museum show at the New Bedford Art Museum. Also in 2016, my sculpture Seagull Cinderella became the focus of a public art controversy, generating over 50 citations in local, national and international media outlets such as The Daily Beast, Artnet, The Boston Globe, New York Magazine, along with radio stations and TV channels. In 2017, I co-curated an exhibition called “Wood as Muse” that featured 10 contemporary artists from The East Coast at the Art Complex Museum in Duxbury, MA. My artwork was acquired by the museum from this show. Also in 2017, I attended my first “International Woodcarving Symposium” in Ringkoebing, Denmark. From 2018-2019, my solo show, “Zodiac,” was exhibited at the Noyes Art Museum of Stockton University in NJ and traveled to the Fuller Craft Museum in Brockton, MA. Both museums acquired my work for their permanent collections.

Highlights from the pandemic years include creating a life size chess set, becoming a Visiting Scholar at the Brandeis University Women’s Studies Research Center, completing a Fulbright US Scholar Fellowship in Vienna Austria with my host institution Tricky Women, the world’s first and only animation festival for women artists and creating a new body of work inspired by the ancient Amazons from Greek and Roman mythology.

My work started out as an exploration of shape and form as implied in the salvaged logs that comprise it. All of the wood I use is reclaimed, recycled, and repurposed. My friends and family collect wood and bring it to me to use. As my work became more widely exhibited, I began working in series. My first series was “The Red Carpet Series,” comprised of a collection of animal-headed female figures sporting long gloves and imbuing a sense of inner beauty. The elbow length ‘gloves’ served as a formal device for incorporating color into my sculptures.

My next series was “Elephant Tribe/ Elephant Parade,” featuring a circle of elephant-headed female figures in a matriarchal grouping, as elephants might be found in the wild. My third series was “Birds of a Feather: Flock Together” featuring 20 large wood sculptures of bird-headed goddess figures in a v-formation, or migratory flight pattern. All of these series traveled in shows to multiple venues. I published two full color catalogs of my work in 2014, Elephant Parade and Birds of a Feather, featuring my wood sculptures from these two bodies of work. My 2014 show “Silent Scream” at the Boston Sculptors Gallery received a positive review by Cate McQuaid in the Boston Globe. It featured a single piece, The Mighty Hippo. The effect was emotionally sparse yet powerful. This show was a departure from the animal groupings in my previous series, and with it began an exploration of my interest in making statement pieces.

My outdoor work was initially designed to explore large-scale versions of my indoor works, using materials suitable to the outdoors. Often my wood sculptures acted as maquettes, but the work quickly took on a life of its own. I faced the challenge of working with Styrofoam and cement, both monochromatic materials, to develop a larger scale in my work. The materials offered no grain pattern or texture, no sensuality, and no sense of spirituality. Therefore, I began to develop color in my outdoor work that was pop, anime and neon. I also faced the challenge of exhibiting my work in public venues and dealing with vandalism and controversy. The dialogue with a public audience, making statement pieces and expanding the scale continued to advance my work—both indoors and out.

In 2016, inspired by Ai Wei Wei’s touring series of the Zodiac, I decided to create female goddesses interpreting all twelve figures of the Chinese Zodiac. Then I added all twelve figures of the Western Zodiac, to challenge the neutrality or universality of the male gendered gods normally associated with the constellations for which the astrological signs are named. That series had popular appeal, but it provoked the question: Why are all the figures female?

In 2018, I created “The Match of the Matriarchs.” This was both the title of my life-size female chess set, and the show I curated with special guests Jennifer Shahade, a women’s grandmaster chess player and conceptual artist, Daniel Meirom, a film maker and journalist, and Kledia Spiro, an Olympic trained weightlifter and performance artist. “Match of the Matriarchs” considers the game of chess as a metaphor for global dialogues about women. The exhibit featured my latest series of mysterious animal-human hybrid wood sculptures: a sculpture group configured as a chess set. Inspired by the history of ship prow carvings, I reimagined the hypersexualized mermaid figures as powerful matriarchal figures. I developed a life-sized chess set with opposing mermaid teams. The deep-sea battle between the squid and the whale inspired me to create a team of cephalopods—octopus, squid and cuttlefish—facing the cetaceans—orca, narwhal and elephant seal on the chessboard.

Historically, the chess set was composed of King, Vizier/General, and other male military figures. The queen came onto the board with newly written rules that made her the most powerful piece around the same time that many powerful queens reigned in England, Russia and Spain. My chess set subverts the vocabulary of the game figures and challenges the patriarchal terminology of the chess set. All of the figures in the Match of the “Matriarchs” are female, representing family matriarchs and the power they wield.

In my current series of wood sculptures, I re-imagine Albrecht Durer’s “The Four Horsemen of the Apocalypse” as Amazon warriors. I use the traditional medium of woodcarving to suggest that these women have always been among us, but that gender misconceptions have prevented us from recognizing them. Drawing inspiration from legendary warrior women such as the ancient Amazons of the steppes, the Dahomey of West Africa and the Rani of Jhansi, Dodson’s amazons portray courage, strength and grit.
The major challenges I face in the middle of my career are regional: the sparse arts journalism in Boston, the limited institutional support for local artists in New England and the absence of art fairs or globally engaged galleries in Massachusetts. I am a member of the Boston Sculptors Gallery, the nation’s only sculptor’s cooperative that operates its own gallery space. Membership allows me to create major bodies of work every 2-3 years but I am responsible for all of the sales, networking, advertising and agenting of my work and it is time-consuming. Sculpture is generally harder to sell than two-dimensional works and it is expensive to ship. Therefore, it is hard to exhibit my work outside of New England and build a national reputation.

The day jobs I have chosen, over the years, nurtured my career by providing a studio space while also providing the time for me to pursue a full time studio practice. From 1990-1995, I worked in Human Services as a House Manager, pursuing my studio practice during the day while I worked the second shift in a residential program for teenage girls at night. From 1995- 2000, I worked a number of skill-expanding positions. I spent about 5 years in the trades learning about wood and building materials such as picture framing, architectural millwork, commercial painting and carpentry. From 2000-2018, I worked another second shift job in a college library that freed me to be in my studio most of the day. The down side to evening work was that I was unable to build a network of colleagues in the Boston art world due to event and reception conflicts. My day jobs provided health insurance and a salary to supplement my modest art sales, grants, and stipends.

Since May 2018, I made the bold decision to step away from all of my day jobs. I am working full time as an artist and I am not juggling outside employment with studio practice. I am now paying for health insurance on the open market and 100% of the social security taxes on my earnings. I own a barn, which I converted to an artist studio. It is next to my house on my property. This well-timed risk has paid off with increased investment in my studio practice and more time to pursue research and grant writing opportunities that will advance my art career.

In addition to my studio practice, I am a freelance writer. From 2012-2014, I covered the art sector of the Boston economy for the Boston Globe’s blog, “Global Business Hub.” From 2012-2019 I wrote a regular column covering the economic impact and global reach of the arts for Artscope, a bi-monthly Boston art magazine. Writing has been helpful in terms of meeting and talking to art world professionals to gain a better understanding of art galleries, museums, and to learn how the art world works. My diverse interviews and art reviews have expanded my network and opened up important dialogues that have influenced my work.

Since 2013, I have curated group shows: “Wood as Muse,” Art Complex Museum, Duxbury, MA (2017); organized public art projects: “Convergence,” Christian Science Plaza, Boston, MA (2013); and managed international art exchanges: “Visions/Visiones,” Milton Academy, Milton, MA USA/ La Escuela Superior Autónoma de Bellas Artes, Cusco, Peru (2013). Being able to collaborate with artists I admire in group exhibitions has been important to the development of my work. This context has opened up national and international dialogues with other artists that have continued to expand the vision for my work. In fact, my participation in panel discussions, roundtable conversations and public speaking engagements has challenged my research, writing and studio work to be stronger conceptually.

I am currently a Resident Scholar at Brandeis University’s Women’s Studies Research Center in Waltham, Massachusetts. It is an honor to collaborate and share discoveries with a notable cohort of scholars who are leading innovative research into gender and women’s issues. In my current project, I am synthesizing research on the Amazons in art history, DNA testing in archaeology, ancient women warriors across the world and super heroines in pop culture. From this research, I am creating a sculpture series that evokes such powerful icons as the Black Panther, Wonder Woman, Hua Mulan, Lakshmibai, Tomyris, and the Minotaur. This body of work will premiere at the Boston Sculptors Gallery in September 2023.

What’s the most rewarding aspect of being a creative in your experience?

The most rewarding aspect of being an artist is the ARTISTIC PROCESS.
When I start a piece of work I need to evoke such a strong feeling about each piece that I can dare to listen to the piece, to make mistakes – to just create. It is the emotional investment in the act of creation that crystallizes the work for me.

Sometimes the idea or concept comes first, and I imagine what the piece will be when completed. More often I work from intuition. Once completed I see the intentions behind the piece, or the desire from which it is born. Artists who inspire me include Jessica Stockholder and Katharina Fritsch. Stockholder uses color as a transformational visual device, changing the way we see form. Fritsch creates sculptures of sacred figures that become pop-icons through her use of color. In the same way I work with various kinds and grains of wood accented by color.

My artwork is about self-expression, autobiography, and self-redemption. Each sculpture is independent and heroic, but each is connected to the body of my total work. Each is made greater and honored by its association with those that have preceded it, but keeps its own sacred identity. Each reflects my realization that I am a self-made woman.

Have any books or other resources had a big impact on you?

The presence of the goddess in art was reinforced by reading Robert Graves, the White Goddess that untangles and fleshes out the puzzles, riddles, rhymes of poetry that reinforce/ disguise this fierce goddess presence, whose mystery underlies/explains a vital life force and system of belief.

I’ve read some of the classic feminist tomes, Betty Friedan, The Feminine Mystique and more recently Manifesta by Jennifer Baumgartner and Amy Richards about 2nd wave feminism.

I’ve followed Jungians more than Freudians on psychoanalysis because the Jungians seemed more transcendent or spiritual, i.e. Nor Hall, The Moon and the Virgin and Clarissa Pinkola Estes, Women Who Run with the Wolves. In their writing they talk about female archetypes.

I’ve read Elaine Pagels’, Adam, Eve and the Serpent for an intelligent interpretation of the bible, Marija Gimbutas Language of the Goddess for an insightful and articulate interpretation of archaeology and Elinor Gadon The Once and Future Goddess for a thorough visual history of art.

Contact Info:

• Website: https://www.donnadodsonartist.com/
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