Finley, Founder and Curator of the Every Woman Biennial is known for her elaborate paintings and intense use of color, monumental murals, multi-disciplinary collaborations, and her activism through urban art interventions, including her acclaimed Wallpapered Dumpsters. As the creator of the Every Women Biennial—formerly the Whitney Houston Biennial, 2014 to 2021, she exhibited over 1,200 female-identifying and non-binary artists in New York, Los Angeles, and London. The result was an interdisciplinary explosion of art hung salon style. By presenting such a rich variety—from paintings to performances, sculptures and flash mobs—the Every Women Biennial is a social practice artwork in itself. In an exceptionally radical act for such a grand-scale exhibition, not a single artist who submitted work was turned away—no one was rejected. Her art and public works produce the conditions needed to change our world, encouraging other artists to create alongside her in spaces defined by vibratory beauty where all are welcome to glimpse the utopia that is already present, that we need only lean into.

Finley has shown internationally and her work has been featured in the The New York Times, La Repubblica, Dazed, Fast Company, Women’s Wear Daily, LALA, and more.

FINLEY SHORT ARTIST STATEMENT (75 words)

In the colorful, experiential art of Finley, incandescent paintings designate sites for community, exhibitions are spaces to generate new work, art fairs are radically charged, and representational power is decentralized. Her art and public works produce the conditions needed to change our world, encouraging other artists to create alongside her in spaces defined by vibratory beauty where all are welcome to glimpse the utopia that is already present, that we need only lean into.

FINLEY LONG ARTIST STATEMENT (998 words)

On a summer day in 2023, a group of women gathered on zoom to discuss feminist solutions to the global ills of patriarchy. This zoom became a town hall where women voiced a wide range of issues and personal experiences—from the Dobbs decision to the recent deaths of activists in Iran. Outrage was palpable. Justice was the shared desire of all the women involved, despite their diverse causes and backgrounds. The artist Finley, present at the gathering, decided to respond visually to the concerns of the women. She wanted to do something––to use art to spur action, healing, and generative energy. Known for her radiant, incandescent paintings and public works, she presented a sketch to the group—an image of the scales of justice in vibrant hues.

The mural Women Life Freedom was the outcome in direct response to this conversation. Women Life Freedom serves as a panacea, a gathering point, and collaborative force. It depicts a formidable central goddess figure, representing justice, emblazoned with the symbol of the sun, facing forward and opening her arms to all. A galactic blue expanse frames the rendered scales, flanking the divine feminine icon, balanced by a vibratory merging of the sun and the moon. The mural was realized as part of an event hosted by La MaMa Galleria in which women came together, performed, wept, wailed, shared their struggles, and decried the obstacles and enemies to freedom and bodily autonomy. A raw honesty and radical artmaking process emerged from this strong outpouring of emotion. Finley left the blue of the mural as a negative space to be filled with "story stars" created by the gathered women on which they expressed messages of hope, resilience, and commemorated activists murdered during protests. The entire group followed a procession to the mural where the stars were hung to create constellations of celestial messages for the public to witness and to exist alongside.

Finley’s work calls attention to the ways in which our bodies respond to and move within the aesthetics of public space. The artist brings a grandiosity, a force-of-nature energy, to her public interventions that is unmissable and bears the message that we, as individuals and in groups, are able to form the world in which we live—that people have the power to determine what their communities look and feel like, that transformational possibilities are everywhere. Her expansive practice––including murals, paintings, installations, performances, exhibition curation, social projects, multi-disciplinary collaborations, urban art interventions—has the capacity to simultaneously express pleasure, strength, and foster community building. She works with the conviction that art should be free to the public and not walled off into elite, inaccessible spaces. Her artwork is both presented to the public and the gallery—and, with her collaboration on the dance film Finite and Infinite Games, she also brought her visual language to the setting of performing arts. Finley's, often enormous, murals and her paintings on canvas, one as large as 48 feet long, are a riot of luscious, vibrant colors and patterns that tap into a primal aesthetic gratification. They merge sacred geometry, traditional quilt work, classical art references, and gem-like glimmer to saturated prismatic landscapes.

Finley’s activism and devotion to alternative art forms are found concretely in her urban art interventions. The most emblematic is her ongoing Wallpapered Dumpsters project. The artist wallpapers dumpsters with beautiful ornate patterns that she creates, revealing a potential for beauty and a profound yearning for metamorphosis in an object otherwise deemed utilitarian and repugnant. Since 2004, they have appeared in Dublin, Los Angeles, New York City, Rome, Paris, & Vienna. Her art and activism are, at their core, about transfiguration, alchemical material processes, and magical acts that call forth methods for changing the conditions of an oppressive society. The collective action required to reshape the world begins with the individual—one's innate desire and personal agency which both require immense strength to conjure initially, but then become accessible for others to connect to once recognized.

Her performance Furnish, Finley used public spaces in Basel, Venice Beach, Vienna, and in New York City where she was accompanied by musicians and dancers, to stage a brief intervention, parading furniture that the artist upcycled into sculpture by customizing it with her distinctive designs. Once the performance ended, she encouraged viewers to take the transformed objects home—artwork free of charge.

The artist deals in the monumental to, ultimately, upend it. She is a veritable feminist whose convictions are consistently traceable—from choosing the subject matter of her work to directing the way the work participates in the market. Finley's ethos is manifested most in one of her most ambitious projects, the Every Women Biennial—formerly the Whitney Houston Biennial. From 2014 to 2021, she exhibited over 1,200 female-identifying and non-binary artists in New York, Los Angeles, and London. The result was an interdisciplinary explosion of art hung salon style. By presenting such a rich variety—from paintings to performances, sculptures and flash mobs—the Every Women Biennial is a social practice artwork in itself. In an exceptionally radical act for such a grand-scale exhibition, not a single artist who submitted work was turned away—no one was “accepted” or “rejected,” thereby disrupting the market-driven exclusivity now customary for contemporary art institutions. Finley approached her time as the director of the La MaMa Galleria similarly. She focused on curating underrepresented, women, nonbinary, and queer artists to promote an intergenerational dialogue.

In the colorful, experiential art of Finley, paintings designate sites for community, exhibitions are spaces to generate new work, art fairs are radically charged, and representational power is decentralized. Each thing she makes transforms into another—something alive and inviting that creates opportunity for community growth. Her art produces the conditions needed to change our world, encouraging other artists to create alongside her in spaces defined by vibratory beauty where all are welcome to glimpse the utopia that is already present, that we need only lean into.

SOLO EXHIBITIONS

2023
Long Way Home, Daum Museum of Art, Sedalia, MO

2021
Love, Thy Will Be Done, La MaMa Galleria, New York, NY

Our Lives Are Shaped By What We Love III, monOrchid Gallery, Phoenix, AZ

2019
Confetti, Other Art Fair, Los Angeles, CA

Our Lives Are Shaped By What We Love part II, Lazy Susan Gallery, NYC

2018
Our Lives Are Shaped By What We Love, Toth Gallery, New, York, NY

Stranger Inside, 4 Times Square, Spring Break Art Show, New York, New York

2016
Same Bed, Different Dreams, LaMaMa Galleria, New York, NY

Girl With a Suitcase, Greenlease Gallery Rockhurst University, Kansas City, Missouri

Eye Contact, La Coreum, Montpellier, France

2015
MOVES MOVES, Jenn Singer Gallery, New York, NY

The Divine Distractions, Superchief Gallery, Los Angeles, CA

Eternal Youth Here, Con Artist, New York, NY

2014
Context Art Miami, Robert Fontaine Gallery, Miami, FL

2013
BANG! BANG! Flaunt People, Los Angeles

Ecco Mi! Lavai Maria, Brooklyn, NY

2012
Colpo d’Occhio Fragmenti Galleria D'Arte, Rome, Italy

Sizzling Summer Suitcase Show, NYC, LA, STL

2011
Art PadSF, San Francisco Curator Maria Jensen

2010
Hot Art Fair Basel, Switzerland

Verge Art Fair, Miami Basel, Miami, FL

2007
A Genuine American Entanglement, Treehouse Gallery, Los Angeles, CA

Opium For Oil, FA3103, CSULB

2006
Cardo Decumanus, Werby Gallery, CSULB

While You Were Fucking Mr. Ridiculous, AM Project, Los Angeles, CA

2005
Painted Paper, Dumba, Dumbo, Brooklyn, NY

New Paintings, Gallery A, New York, NY

2003
New Paintings, Anotheroom, New York, NY

Babies First Installation, Pussycat Lounge, New York

2002
Portia Coughlin’s Little Otik Installation, Show World Theater, New York, NY

2001
The White Viking Installation, Carlton Arms Hotel, New York, NY

SELECT GROUP EXHIBITIONS

2021
The Intricate Intimate, Allouche Gallery, New York, NY

2019
Every Woman Biennial, La MaMa Galleria, New York, NY

2017
Nasty Woman, Knockdown Center, New York, NY

Plays Nicely With Others, A&B Contemporary, Asbury Park, NJ

2014
Whitney Houston Biennial: I’m Every Woman, Dumbo, New York

Whitney Biennial, Whitney Museum, New York, as a member of HowDoYouSayYamInAfrican?

2013
Come Together: Surviving Sandy, Industry City, Brooklyn curator Phong Bui

Cash Cans and Candy, Galerie Ernst Hilger, Vienna

ART! Austin Young Gallery, Los Angeles

2012
Street Art-The New Generation, Pori Art Museum, Finland and Denmark

Letting Go, Hermon La Prada’s International Flat Files, Dubai

2011
Stencil & Candy, Robert Fontaine Gallery, Miami

Scope Miami, A39, Miami

Home, Home Gallery, Rome

Sex, Drugs and Profanity, Robert Fontaine Gallery, Miami

Pleasure Is All Mine, Finch and Ada, New York

Scope NYC, Hendershot Gallery, New York

Motus, Hendershot Gallery, New York

Studies in Feedback, Brooklyn

2010
Your Third Eye Is a Dictator, Gowanus Studio, New York

Mexico Berlin, Palestine, When Will the Next Wall Fall? Aequalis Contemporary, Rome

PUBLIC ART

2023
Colossal Media, Dumbo public murals (5), New York, NY

Women Life Freedom, La MaMa Theater public mural, New York, NY

INDIEWALLS, Public Bulkhead Mural, New Rochelle, NY

2022
Arlo Hotel, Soho public mural, New York, NY

2020
Diptyqye Temporary Mural outside of the New York City store located in Soho, NYC

2019
Veuve Clicquot Temporary Mural in collaboration with and commissioned by Colossal Media. 40x40ft acrylic on brick. Located in Brooklyn, NY

Pandora “Street of Loves Los Angeles” Curator and Artist creating seven large scale murals by female artists for the global jewelry brand, 15,000 square feet acrylic and spray paint on brick. Located downtown Los Angeles, CA

2018
The Wedge Tower grant commissioned public mural. 300x250 feet. acrylic and spray paint on brick. Located in Houston, Texas

The Quality Mending Co. grant commissioned community based mural project Size 30x40ft acrylic on brick. Located in SoHo, New York City

GUM Studios grant commissioned community based mural project. Size: 40x50ft acrylic on brick. Located in Sunset Park, Brooklyn

2017
E on Grand Luxury Apartments grant commissioned public mural. 100x150ft acrylic and spray paint on building. Located Downtown, Los Angeles, CA

Warner Brothers/SXSW Wonder Woman Temporary Mural SXSW 15x15ft acrylic on panel. Located Austin,TX

Warner Brothers/ VidCon Wonder Woman Temporary Mural 10x10ft acrylic on panel. Located Amsterdam, Netherlands

New York Life Building grant commissioned lobby murals 14x11ft, 4x6ft,4x6ft, acrylic on canvas. Located Los Angeles, CA

2016
Sweetgreen grant commissioned public mural 45x75ft acrylic on concrete. Located Los Angeles, CA

2006-present
Wallpapered Dumpsters street art project dimensions variable fourteen cities including, Rome, Los Angeles, New York, Dublin, Kansas City, Paris

CURATORIAL EXPERIENCE

2023
Helen Lavelle, Humanity & Divinity, La MaMa Galleria, New York, NY

2022
Our Mother The Mountain (Group Show), La MaMa Galleria, New York, NY

Tura Oliveria, What A Glory to Be So Euphoric and Weak, La MaMa Galleria, New York, New York

2021
Every Woman Biennial: My Love Is Your Love, New York and London

2019
Every Woman Biennial: I Wanna Dance With Somebody NYC

2018
Zoe Schlacter, N.E.W., at SPRING/BREAK Art Show

2017
Whitney Houston Biennial: Greatest Love Of All, Chashama, New York, NY

Elizabeth Bick, THE REAL SIN WOULD BE NEVER EXPERIENCING IT, SPRING BREAK/Art show, New York, NY

2014
Whitney Houston Biennial: I’m Every Woman, Dumbo, New York, NY

2007-08
Assistant Curator, Torrance Art Museum, Torrance, CA

2006
Greater LA MFA (co-curator/founder) CSULB Gallery Complex

Brooklyn>Long Beach, EnView, Long Beach, CA

Long Beach>Brooklyn, TOB, Brooklyn, NY

2005
Greater LA MFA (co-curator) CSULB Gallery Complex

Greater LA MFA Film Screening, University Theater, CSULB

2003
Summer Salon: 75 Emerging Artists, Dumba Collective

SELECTED BIBLIOGRAPHY

Melena Ryzik, “An Art Show For Hundreds Of Women. And That’s Just The Artists.” The New York Times, May 16, 2019

Beige Luciano-Adams, “All The Womxn, All The Cities: Every Woman Biennial Branches Out”, LA Weekly, June 5, 2019

Rocky Casale, “These Woman Muralists Are Sparking A Social Dialogue In Cities Around The World”, Travel+Leisure, December 14, 2017

Tanja M. Laden, “An Artist Who Makes Dumpsters Beautiful” LA Weekly, March, 31, 2015

Stephanie Eckardt, “The Whitney Houston Biennial Is Not Messing Around”, W Magazine, March 28, 2017

Valentina Lupia, “Cassonetti decorati, così si combatte il vandalismo” La Repubblica, May 3, 2014

Fiorella Valdesolo, “A Biennial with Another Whitney in Mind” T Magazine, March 7, 2014

Sarah Cascone, “’I’m Every Woman,’ Proclaims All-Female Whitney Houston Biennial” Artnet, March 6, 2014

Priscilla Frank, “The Whitney Houston Biennial Is Here to Make Your Feminist Art Dreams Come True” Huffington Post, March 4, 2014

Christine Pittel, “An Intimate Apartment in Rome” House Beautiful, October 2013

Penelope Green. “The Dumpster Beautified” New York Times, January 13, 2010

Ilana Rehavia. “Pichação Educada” BBC Brazil, January 11, 2010

Rebecca Willa Davis, “Dumpster Dive” Nylon, January 8, 2011

Sarah Nicole Prickett, “ Beautiful Trash” Dazed, August 2010

Marisa Solis, “Words and Pictures Reviews” Juxtapoz, Jul/Aug 2005

COLLECTIONS

Rome: Attilio Vaccari, Gai Mattiolo, Patrick Gallagher

NYC: AOL, Christopher Phipps de Rothschild, Michael Levine, Annabelle Rinehart, James Andrew, Matthew Feldman

Houston: Jesse Jones

AWARDS/RESIDENCIES

2013
Guest Haus Residency, Los Angeles, CA

2012
AOL Artists

2008/2010
Gai Mattiolo Residency Rome, Italy

2008
Eszter Cohn Grant

2007
Treehouse Gallery AIR Program

2006
Marilyn Werby Grant

2000
Abramson Grant

EDUCATION

2003-06
California State University, Long Beach. MFA Sculpture/Intermedia

1997-00
Pratt Institute, Brooklyn, NY. BFA in Painting

1998
Universita Internazionale del’ Arte, Venice, Italy. Pratt in Venice Painting Program

1993-97
University of Missouri, Columbia, Missouri. Studied Journalism.

LECTURES

2023
Lehman College

2020
Chapman University

2016
Rockhurst University

2014
Chapman University

2013
Chapman University

2012
Sierra Nevada College

2011
American University in Rome