A magical mushroom woman with colors inspired by Monet’s Waterlilies.
Wading in the Waterlilies is a small ceramic sculpture of a mushroom woman, glazed in soft, ethereal tones inspired by Monet’s iconic pond paintings. She is delicate but powerful—an ode to quiet magic, feminine transformation, and the lush liminal space between decay and bloom.

Part of Maggie Belinski’s ongoing exploration of death, rebirth, and the sacred feminine, this piece invites contemplation. Mushrooms emerge from death but signal life. They are reminders that even after loss, beauty returns.

Dimensions: 7” x 4” x 3”
Materials: ceramic stoneware, glaze
Year: 2025

Ceramic sculpture, part of the collection Swimming Without Limbs. Low fire underglaze and glaze.

Dimensions: 17” x 5.5” x 7”
Materials: ceramic, low fire underglaze and glaze
Year: 2025

Artist Statement

My sculptural work explores the lingering impacts of addiction through the perspective of a witness: a daughter, a partner, a bystander. I lost my father to alcoholism and drug use, and at 30, left an abusive household to escape an addict husband. These experiences shaped how I respond to the world and the ways I work. In a life shaped by codependent concern, I developed an instinct to control what I could—my art, my environment, my emotions. Control became both a method of survival and a limitation.

For years, my work reflected that impulse. I held tightly to form, process, and precision. I was often told the work felt too controlled. I resisted that critique, seeing control as a necessary response to the instability around me. In twelve-step spaces, I rejected the label "codependent" and defended my approach as rational in a world that felt unmanageable. But over time, through healing, support, and exposure to stability, I was able to loosen the reins.

My practice shifted. I embraced naivety and trust, traits that had been used as weapons against me in the past. The work became guided by intuition, experimentation, and a willingness to let go of control. I stopped prioritizing being fully understood and began making work that allowed for ambiguity, joy and strange beauty

A multi block woodcut depicting the cycle of pregnancy, birth, and motherhood

Dimensions: 11” x 13”
Materials: woodcut in oil ink on lokta paper
Year: 2025 

Artist Statement

As a contemporary relief printmaker, my work is deeply rooted in the exploration of womanhood, body autonomy, and body positivity. Through lino and woodcut prints, I seek to reclaim and celebrate the female form, acknowledging its power, complexity, and beauty in all its manifestations. My prints are not only an exploration of the self but a call to embrace the natural world and its connection to our identities. Nature, in all its cycles and rhythms, serves as a metaphor for the human body, and both become sites of transformation and growth.

With a background in illustration, my work is imbued with a strong narrative element, where folklore and magic intertwine with the mundane. Each piece is crafted by hand, ensuring that every mark and texture adds to the story being told. I draw inspiration from the wisdom of ancient myths, as well as the everyday experiences of modern life, blending the fantastical with the familiar. My prints encourage a dialogue between the sacred and the everyday, offering space for the viewer to contemplate their own relationship with selfhood, the body, and the world around them.

The tactile nature of relief printing allows me to connect with my medium in a personal and intimate way, adding layers of meaning to each work. In the act of carving and printing, I engage in a dialogue with the materials themselves, drawing upon their rawness to express the nuances of identity and the strength found in vulnerability. Through my art, I strive to inspire a deeper understanding of the body as a site of empowerment, a source of magic, and a testament to the enduring relationship between the individual and the environment.