ARTIST STATEMENT
My practice moves across installation, painting, pen and ink, sewn surfaces, video, and sound. I’m driven by a persistent inquiry into ecological fragility, animal consciousness, and the entangled relationships between human bodies and damaged landscapes. I work from an ecofeminist framework, understanding the exploitation of the natural world and the marginalization of women and other bodies as historically linked systems of domination. The land, the animal, and the female body are subject to the same extractive logic, and my work sits inside that overlap.
In 2025, I discovered that two Superfund sites border the creek I swam in daily as a child. Heavy metals had been flowing into that waterway for years. I now carry multiple autoimmune diseases. Direct causality is difficult to prove, but the parallels between my prolonged childhood exposure and my current health can’t be ignored. My body has become part of the ecological record.
That recognition accelerated a shift in my practice toward sonification: the translation of scientific and environmental data into sound and time-based media. Field Notes: A Requiem is an ongoing series in which disappearing natural systems are listened to rather than simply looked at. Lit from Within translates firefly flash patterns into music using custom code and data processing that identifies individual species by their blink signatures and routes each one to a distinct musical voice. The shift toward time-based work also reflects the realities of my body; rheumatoid disease and osteoarthritis have made the heavy physical demands of large installations increasingly unsustainable currently without studio assistance, and sonification has opened a practice that is both intellectually rigorous and physically possible.
SHORT BIO
Born in New York in 1971, Gin Stone is an interdisciplinary artist exploring environmental decline, animal advocacy, and the impermanence of life. Working with salvaged linen, reclaimed textiles, and found materials, she creates installations involving projection and sound, mixed-media constructions and pen and ink drawing on odd objects that reflect ecological fragility and acts of repair. Stone’s work has been exhibited in New York City, Santa Monica, Atlanta, Boston and Provincetown and is held in the permanent collection of the Provincetown Art Association and Museum. Her practice has been supported by the Mass Cultural Council, the Puffin Foundation, and residencies including Twenty Summers and Peaked Hill Trust, integrating fieldwork, sustainability, and historic/mythical inquiry into material form.
FULL BIOGRAPHY
Born in New York in 1971, Gin Stone grew up immersed in landscapes that would later shape her work. Those experiences now inform both the materials she chooses and the stories she tells through her work.
Over her career, her work has been exhibited widely across the United States, including New York City, Santa Monica, Atlanta, Boston and Provincetown . These opportunities have allowed her to engage diverse audiences and situate her practice within national conversations about ecology, art, and spirituality. In 2019, the Provincetown Art Association and Museum acquired her work for its permanent collection, affirming the resonance of her practice within an institutional context.
Gin has received numerous grants and awards, including the Mass Cultural Council Individual Artist’s Grant (2025), the Puffin Foundation Environmental Artistic Activism Grant (2023), the Artist’s Resource Trust Endowment (2018), and the Rauschenberg Emergency Grant (2022), among others. Residencies have been vital: the Arts and Science Program at Peaked Hill Trust (2024) and the Great Boston Harbor Islands Cleanup residency integrated ecological fieldwork with studio practice, while the Twenty Summers residency (2023) provided space for experimentation and public engagement.
Public talks and teaching have complemented her studio practice. She has presented work at the University of Rhode Island, the Center for Coastal Studies, and multiple galleries in Boston and Cambridge, and taught at the Provincetown Art Association and Museum’s school, leading a course called Method Flux that encouraged students to create new methods of working through experimentation. Curatorial projects, such as Prismatic Redux (2019) and Recreating Nature (2018), have expanded her practice into dialogue with other artists and audiences, emphasizing the ecological and scientific questions that drive her work.
