SITUATIONS is pleased to a selection of works from Alina Bliumis’ Plant Parenthood (Fertility) series at SITUATIONS CHELSEA in the front viewing room. Concurrently, NEW DISCRETIONS presents Cary Leibowitz's solo exhibition, You Really Let Yourself Go, in the main gallery space.

Bliumis’ work can also be seen in the group exhibition, A Garden of Promise and Dissent at The Aldrich Contemporary Art Museum, Ridgefield, CT, curated by Amy Smith-Stewart, Chief Curator, on view through March 16, 2025.

In her Plant Parenthood (Fertility) series, Bliumis renders various plants which have been used as folk remedies throughout history to aid in pregnancy, such as red clover and maca, in watercolor pencil and washes on wood panels and held within artist-made velvet frames. The artist portrays her subjects in a manner that emphasizes and exaggerates their inherent sensuality, drawing parallels between human and botanical reproductive anatomy.

While the flora depicted in her initial Plant Parenthood series are known to have been used in various folk medicines to terminate pregnancies, in this chapter, Bliumis continues her research into the history of women using herbal medicine aimed at increasing fertility. Both series underscore that, regardless of legal restrictions and social pressures, women across cultures have and will continue to find methods to maintain agency over their bodies and reproductive decisions.

The desire for motherhood and abortion may initially seem like opposing concepts, yet the core principle shared in both Fertility and Plant Parenthood is the belief in a person’s choice over their own body and health. Before the professionalization of medicine transferred power over pregnancy, labor, contraception, and abortion care from pregnant people and midwives to male doctors, natural fertility aids and herbal abortifacients were widely used as family planning methods. In large part, these herbal rituals have been shielded from the gaze of patriarchal eyes. Bliumis’ paintings mirror the work of our foremothers who used botanicals as medicine. Without context, a viewer might only see flowers, but with knowledge, the viewer begins to understand the power and self-determination preserved by these plants.

ALINA BLIUMIS (b. Minsk, Belarus) is New York-based artist who received her BFA from the School of Visual Art in 1999 and a diploma from the Advanced Course in Visual Arts in Fondazione Antonio Ratti, Como, Italy in 2005. She has exhibited at SITUATIONS, NYC; the Musée national de l’histoire de l’immigration, Paris, France; the First Moscow Biennale of Contemporary Art, Moscow; Busan Biennale, South Korea; Tokyo Biennial, JP; Assab One, Milan, Italy; The Bronx Museum of the Arts, NY; Galerie Anne de Villepoix, Paris; Centre d’art Contemporain, Meymac, France; The James Gallery, The Graduate Center CUNY, New York; Museum of Contemporary Art, Cleveland, OH; Museums of Bat Yam, Israel; The Jewish Museum, NYC; The Saatchi Gallery, London; Botanique Museum, Brussels; the Victoria and Albert Museum, London; and MAC VAL/Musée d’art contemporain du Val-de-Marne, France. Her works are in various private and public collections, including MAC VAL - Musée d’art contemporain du Val-de-Marne, France; Musée national de l’histoire de l’immigration, Paris; The Victoria and Albert Museum, London; Moscow Museum of Modern Art, Russia; Bat Yam Museum for Contemporary Art, Israel; The Saatchi Collection, UK; The Harvard Business School, USA; The National Museum of American Jewish History, Philadelphia; and Missoni Collection, Italy. Bliumis work has been reviewed in Artforum, ART - Das Kunstmagazin, ARTNews, and Hyperallergic.