Bio

Mia Donalson is from Charlottesville, VA. Donalson graduated from Virginia Commonwealth University (VCU) with their BFA in craft and material studies in May 2023. Their work has been shown at The Anderson and Hawthorne galleries in Richmond VA and CityClay in Charlottesville VA. Donalson functions within the artistic canon of contemporary craft and confessional art. They received a craft apprenticeship program (CAP) award in 2023 to facilitate apprenticing under Caroline Woolard. They are currently a core fellow at Penland School of Craft.

Artist Statement

As a highly sensitive queer person I have always had a complex relationship with the idea of home and belonging. They are connected for me, belonging defines home and I lack belonging; at my house, in my family, in my body. I make work for the homes I don’t have.Craft objects live in the home in tandem with the inhabitants as furniture, tableware, and jewelry. Subverting the expectation of materiality and function of these objects brings my intangible lack of belonging into reality. As I realized my own unbelonging- not fitting into that which was expected, my work moved fluidly between materials, mirroring my untethered existence. Being separate takes its toll and I am often left feeling disconnected, living in dissociative nowhere. Material is somewhere, it remains, an extant physical anchor composed of repetitive processes that force a connection between my body and mind. Maintaining a physical and mental connection allows me the solidity to belong at a point in time.Making objects is a physical record of the healing that I do, and the healing is the heart of my work. Knowing I didn’t belong made me feel unseeable; through craft I am able to distill and process emotions in order to heal myself, bit by bit. In sharing aspects of healing in my work, I am seen.

Gallery

Analog Memory, 2021, 2’x1’7”x3’3”, varied wood species both found and bought, objects of importance.

Constructed of fifty individual boxes joined together, this chair is fully functional and capable of holding my weight. Each box is built to the exact size of an object which symbolizes an important person or seminal experience in my life. As these people and events have shaped the foundation of who I am today, this chair gives a physical form to the collection of objects allowing them to literally support my body.

Rocking Table, 2022, 3’6”x2’3”x2’6”, Cherry and ceramic.

This work combines wood, clay, and human interaction to represent the fawn trauma response categorized by extreme people-pleasing behavior; this response seeks a sense of balance by appeasing those around them. This table accommodates the whims of those who would touch it while maintaining the levelness of its central bowl.

Listen, Obey Me, Comply, 2022, 3.5”x3.5”x3.5”, cherry wood bought and given.

Each block face shows one carved letter, spelling a word or phrase: Listen, Obey Me, Comply. The blocks reference children's toys, but the methods and materials used to make them suggest they should not be treated as such, referencing restrictions placed on children around objects of value.

Hold Your Tongue, 2022, 4”x2”x3”, sterling silver, human mouth.

Cast using a lost wax technique, these flowers are made from wild violets coated in wax. Connected to a cast representation of a tuber, the wearer is forced to bite down and clench their jaw to keep the violets in place. The violets may appear to the viewer as beautiful adornment, without making apparent the struggle of the wearer to uphold that image. This piece speaks to the tiring, invisible work of concealing personal suffering in efforts to fit in or be favorably perceived.

Home?, February 2022, 1” x 1” x 1.5”, brass, pyrite stone, silver sheath.

This ring displays a pile of houses strapped down to a piece of fool’s gold. The precarious nature of the houses brings up the unstable social norm of equating houses with home. Defining home extends beyond physical structure to include ideals of belonging and comfort. This work is a beginning for the viewers to consider defining home.

Home., February 2022, 1” x 1” x 1.5”, sterling silver, creek clay rock, patinna

This ring holds a set stone to the skin of the wearer. The stone is constructed of clay from my childhood backyard, while the stump references a specific location I used to play around. This adornment celebrates the personal, often hidden aspect of a person’s sense of belonging and home, allowing wearers to recognize the importance of play.

Head in the Clouds, March 2022, 4’ x 2’ x floor to ceiling, stoneware clay, earthenware clay, blue glaze, maple wood, cable, green pillow, human body

This work hovers above the floor, asking the viewer to participate and become part of the piece themselves. The height of the piece intentionally forces adults to return to the height of a child, thus arousing memories or questions around the feeling of smallness and to desire escape or the wish to be held and protected.

Hug Forms, April 2022, dimensions vary, ceramic, faux fur, human body

Each form was hugged with direct contact to my chest or torso, creating distinctive curves. Soft textiles form a skin around the hard ceramic, making the true nature of these pieces knowable only by touch. The body holds trauma in specific areas; these pieces hold areas in my body where trauma resides.

Negative Space Improperly Documented, May 2022, 6’4” x 1’6” x 5’, Unfired clay, white bed sheet, projection of destruction and repair.

This work consists of a video projected onto a hanging sheet holding a ceramic object. The video loops me laying down, hugging the wet ceramic form to my chest until it splits, and mending it. The objects conform to the space that a stuffed animal would be hugged for comfort, the bedsheet further references comfort and self-soothing.

Bunny, 2022-23, 4”x9”18”, deconstructed men’s t-shirt, fleece, stuffing.

Bunny is a durational performance piece that ran for 6 months. Reconstructed by reverse patterning my childhood stuffed animal, (now in tatters), using photos of my childhood featuring the original Bunny for reference, Bunny embodies the idea of childhood comfort. I carried Bunny with me everywhere, as I did with the original in childhood. Each day is documented both visually with pictures and written descriptions of interactions between Bunny and the world. Through the collection of day to day data, this work addresses societal views of comfort associated with age. It also interrogates the perceived link between color and gender. After processing the data, both the visual and written documentation will be displayed with Bunny as well as interpretation of the data through charts. Bunny is a journey of introspection and self-healing.

This section is a work in progress! If you have found it, feel free to contact me at my email: [email protected] with any questions or inquiries.I am also happy to respond to DM's on my instagram linked below!If you are looking for a downloadable copy of my CV, please contact me and I'll happily send you one.