CURATED.
Points of Entry
Women-Led Galleries Now on Artsy
Cydney Camp | Ashley Marie | Marceline Mason | Jaime Pattison
March 6th - 31st, 2026
Online only
This Women’s History Month, explore compelling works that reflect how women are shaping art, from the studio to the gallery.
The artists included here each offer a different point of entry. Distinct approaches to their practices reflect the range of conversations happening within the gallery and across Detroit’s artistic community. Taken together, these works invite viewers to move between them, noticing how each artist opens a different path inward.
CYDNEY CAMP
Cydney Camp (b. 1994, Detroit) is an artist whose oil paintings and drawings explore the complexity and breadth of Black life through vibrant color and fluid figuration. Working between representation and abstraction, Camp creates dreamlike compositions in which Black figures inhabit intimate, contemplative spaces. Her practice often considers leisure, presence, and interiority as quiet forms of resistance, particularly in relation to Black femininity. Camp has exhibited widely across Detroit and Michigan, including presentations at K.O. Gallery, Norwest Gallery, the Ann Arbor Art Center, and the Center for Detroit Arts & Culture. She lives and works in Hamtramck, Detroit.
La Mer, 2026
Oil and acrylic paint, charcoal, oil stick on canvas
60 × 48 inches
In this painting, Camp continues her inquiry into the figure of the “Black Venus,” unpacking inherited images of beauty shaped by European mythology, the male gaze, and the historical legacy of American chattel slavery. Her figures resist fixed form—bodies merge, dissolve, and re-emerge through expressive brushwork, suggesting both rupture and rebirth.
Moving between the surreal and the intimate, the work asks what it means for a historically mythologized body to reclaim its own presence. Camp’s Venus is neither muse nor symbol, but a complex, sentient being whose shifting form invites viewers to reconsider desire, perception, and the act of looking itself.
“Exploring the tension between what is seen and what is felt, the figures I create move fluidly between form and dissolution as unbounded beings that resist fixation.”
ASHLEY MARIE
Metro Detroit–based multidisciplinary artist Ashley Marie creates work that moves between the tangible and the transcendent. Largely self-taught, with early studies at the Academy of Art University in San Francisco, her practice has evolved through lived experience, particularly her navigation of grief, spirituality, and existential inquiry. Exhibiting throughout Detroit and internationally, including the 55th Venice Biennale, Ashley’s work reflects a deeply personal yet universally resonant exploration of what it means to exist between worlds.
Genesis, 2026
Oil on canvas
82 × 63 inches
In Genesis, originally conceived as a meditation on the Big Bang as Divine Creation, the large scale work transforms into something more intimate and immersive.
Rather than depicting a singular cosmic event, it becomes a field. She depicts origin not as distant or historical, but internal and ongoing. A cycle of becoming and unbecoming defining our lived experience.
“Genesis is not an event… it is a state of beginning.”
Time Tides, 2026
Oil on canvas
48 × 36 inches
MARCELINE MASON
Marceline Mason is a Detroit-based painter whose work explores the psychological terrain of nocturnal landscapes, where natural forms become mirrors for inner states of mind. Her recent paintings focus on quiet, uncanny scenes of rivers and night waters that hover between presence and disappearance. Through layered tone and atmosphere, Mason creates meditative spaces that invite reflection on the shifting relationship between the natural world and interior experience. Mason received her MFA from Cranbrook Academy of Art and her BFA from West Virginia University. Her work has been exhibited at venues including Museum of Contemporary Art Detroit, Belle Isle Viewing Room, and M Contemporary Art. She has also received the Denis Diderot Artist Residency Grant at Château d’Orquevaux in France.
Night River, 2024
Oil on panel
42 × 72 inches
In this work, Mason explores nocturnal landscapes as sites of ritual and psychological reflection. Drawing on Jungian archetypes, each panel functions almost like a visual “spell,” composed of flora, water, and elemental forms.
Central to the work is the concept of Lumen Naturae—the “light of nature”—which appears not as sunlight but as luminous flashes and verdant glows that seem to emerge from within the landscape itself. These subtle illuminations symbolize the inner brilliance of the unconscious mind, creating a threshold where the external world and inner awareness briefly meet.
“Lumen Naturae, or the Light of Nature, does not mimic the sun. Instead, it emanates from within the landscape itself.”
JAIME PATTISON
Jaime Pattison is a project-based artist based in Los Angeles whose work explores systems of value, authorship, and mediation through painting and installation. Her work has been exhibited internationally in Tokyo, New York, Detroit, Toronto, and Buffalo, including a presentation at the Buffalo AKG Art Museum and through the Scotiabank CONTACT Photography Festival collection. In 2023 she co-founded DIVE Studios in Detroit, a shared space for conversations, screenings, and experimental dinners, and has guest curated exhibitions across the city, including Afterimages at Newlab Detroit. Pattison received her BFA from College for Creative Studies and will begin pursuing her MFA at California Institute of the Arts in 2027.
Bank, 2025
Acrylic and pigment on panel
43 × 40 inches
Prospects, 2025
Acrylic and pigment on panel
67 × 63 inches
Her series Securities examines how value is constructed through architecture, technology, and painting itself. Drawing from historic financial institutions in the Midwest—including the Chicago Stock Exchange Trading Floor, now housed at the Art Institute of Chicago, and Detroit’s State Savings Bank—the works exist between object and image. With 3D-printed structural supports and surfaces that shift between machine and hand construction, the works create a deliberate tension between human authorship and mechanical production, reflecting on systems of exchange in a post-industrial landscape.
“The work holds a tension between the human hand and the mechanical.”
CYDNEY CAMP
Oil and acrylic on canvas
10 × 8 inches