Statement
The Matilda Effect was a label originally used by historian Margaret W. Rossiter referencing Suffragist and columnist Matilda Joslyn Gage (1826-1898) who publicized the work of important but forgotten women in history. The Matilda Effect Series celebrates women’s history and achievements which are less documented, less compensated, and often appropriated, leading us to believe that women are only useful in supporting roles. This series is painted on repurposed household objects, to provide context to the tension between how women are traditionally seen and the trailblazers they really are. #nomorematildas
Bio
Charters was born in The Yorkshire Dales in The North of England where she grew up as a child. She is a conceptual artist intent on offering up a new perspective of society and history from the female identifying point of view. She holds a BA (hons) degree from Cardiff College, Wales and an MFA from Chelsea College of Art, London. She studied under the painter Graham Crowley, printmaker Amanda Faulkner, was assistant to the sculptor Andy Goldsworthy and she has travelled internationally working in the animation industry. Charters has exhibited in many parts of America, most recently in Old Courthouse Arts Center (Chicago) and at Marin County Society of Artists (Bay Area), Fogue Gallery and Gallery 110 in Seattle, and Gallery 839 in Los Angeles, Lakewold Museum in Lakewood, Childhood’s End in Olympia, also in exhibitions in the UK. She has won awards at Ryan James Fine Arts, Tacoma Community College, and South Puget Sound Community College. She has featured in articles in Kirkland Lifestyle Magazine, Shoutout LA, The Olympian, and Oly Arts magazines. She currently works from her studio in Olympia, Washington.