Angiola Churchill's life is an example of private revelation and public service. She has been
a tireless explorer of her own artistic vision, and through her teaching and administrative positions at New York University, she has helped many people find their own. She was the first female full-time professor of art and is now Professor Emerita at New York University. For twelve years she chaired their Department of Art and Art Professions of the
Her work is rooted in twentieth century traditions like Modernism and the burgeoning of feminist (and feminine) expression, but she continues to push and expand her imagery in the 21st century. There is a continuing sense of joy and exploration in her work, whether it is a small drawing of buoyant shapes or a large waterfall-like installation of cut and twisted paper.
She is not dealing with inert, lifeless substances, but materials that, under her touch, become responsive, alive, moving and flowing along with her hand. She makes a move, draws a line, touches something, and it changes under her hand, stimulating more ideas, different directions, different identities, and out of all this subtle information, she makes another move, draws another line, thinks of another way for her garden to take shape.
Some of her art fills entire rooms, like a current project for the historic 16th century Palazzo Reale (Royal Palace) of Naples, Italy. This installation will be a maze of lacy hangings of crisp white paper that shape and filter light, creating a place for people to escape the chatter and noise of our world and come to themselves, a place of pilgrimage and meditation akin to a Japanese Zen garden. She often needs help for these large and
Angiola Churchill's recent exhibitions include Symbolic Images , Crecloo Art Gallery, Jenkintown, PA (2004), and Angiola Churchill - Beyond the Garden , Museo di Palazzo Fortuny, Venice (2003).