When I walked into HOME HERE at the Visual Arts Gallery, I felt like I was entering a space filled with memory rather than a traditional exhibition. The show, curated by Lucy Rovetto, brings together eleven women artists living in Jersey City. Instead of separating each artist clearly, the works flow into one another. They overlap and share the space, which reflects the exhibition’s theme of history and memory. The title, HOME HERE, suggests that home is not only a physical place, but something emotional, layered, and connected to personal experience. The exhibition includes works by Laia Cabrera, Nicole DeMaio, Isabelle Duverger, Jaz Graf, Katelyn Halpern, Jin Jung, Pat Lay, Tina Maneca, Cheryl R. Riley, and Jennifer Roberts, and it also honors Ward Mount’s historical contributions to NJCU.
One artwork that stood out to me was Jennifer Roberts’ Family Album series. Her installation shows small paintings placed above a wall filled with old family photographs arranged in rows. The photographs wrap around the corner of the gallery, creating an archive of everyday life—birthdays, portraits, children, and family gatherings. After reading her statement, I learned that she lost her own family photographs and began buying vintage family photos online. This made the work feel very personal and emotional. She is rebuilding memory using images that once belonged to strangers. I chose this piece because it connects to storytelling, something I value in my own artwork. It reminds me of a quote from The Art of Activism: “Physical and mental space is key for creativity.” Roberts creates that reflective space, allowing viewers to think about their own memories and histories.
Another powerful work was Tina Maneca’s Comfort is an Action installation. The piece looks like a nursery setting, with a bassinet placed on a colorful quilt and covered by a soft, transparent canopy. Stuffed animals sit inside, and the fabrics feel handmade and warm. At first, the installation seems gentle and comforting. However, the more I observed it, the more I realized that comfort here is carefully constructed. The quilt patterns and stitched materials suggest care, labor, and history. This connects to a quote by bell hooks in Understanding Patriarchy: “The recollection of this brutal whipping of a little-girl daughter by a big strong man, served as more than just a reminder…” This quote reminds us that domestic spaces can hold both comfort and pain. Maneca’s installation reflects this complexity. I was drawn to this work because it uses materials and space in a powerful way. As someone who enjoys painting and recently explored ceramics, I appreciate how she uses texture and physical objects to express emotion.
I chose these two works because they both focus on memory and identity. They feel like quiet forms of activism. Instead of loud protest, they preserve stories that might otherwise be forgotten. They give value to personal history, domestic labor, and women’s experiences. The curatorial narrative of HOME HERE supports this idea by allowing the artworks to connect and flow together. The exhibition feels thoughtful and meaningful. It reminded me that art can create space for reflection, healing, and belonging.
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