BIOGRAPHY
Dana-Marie Bullock is a Jamaican-born interdisciplinary artist based in New York City. Her work encompasses painting, printmaking, photography, sculpture, installation and performance art. Bullock's work draws from familial memory and collected images through self-portraiture to engage with themes of sexuality, bodily autonomy, trauma, chronic illness, and loss.
Bullock is currently completing her MFA in Painting and Drawing at Pratt Institute. She is the recipient of the Virginia Pratt Thayer Scholarship 2024, the Schuback Endowed Scholarship 2024, and Pratt Institute’s Ox-Bow Residency Award 2024. Bullock completed her summer residency at Ox-Bow School of Art under the tutelage of Michelle Grabner, Molly Zuckerman, and Brad Killam. Bullock also completed a residency masterclass with artist, Mickalene Thomas and curator, Jasmine Wahi at Anderson Ranch Arts Center in 2024.
Following her undergraduate studies in Social Work at the University of the West Indies, Bullock studied Fine Arts with a specialization in painting at The Art Students League of New York. She has received multiple awards at various shows in New York City including Red Dot Winner
(best in show) and the Norma Adler Scholarship at the Art Students League, along with media coverage in both the United States and Jamaica. In 2019, Bullock exhibited at the National Gallery of Jamaica and one of her works remains on display at the Ministry of Culture, Gender, Entertainment, and Sport in Jamaica.
Through abstraction, my practice investigates the body as a site of cultural identification and material history sown into the flesh. Working primarily in painting, sculpture and installation, my work draws from familial memory and collected images through self-portraiture to engage with themes of sexuality, bodily autonomy, trauma, chronic illness, and loss.
Using unconventional materials, such as chiffon, gauze, lace, hair weft, varied metals and found objects — all of which carry historical resonance quietly embedded in my Jamaican culture, domestic life, and architecture.
My large scale abstract paintings have a sculptural foundation, typically hung unstretched, bodied, damaged, resurrected, and repaired using methods of embroidery to stitch layers of interwoven histories of Western, Eastern, African, and Black cultures within Jamaica. Utilizing materials to emphasize the female body as an architecture and a site of strength, comfort and bravery but also fragility and loss.
Ultimately, my aim is to create a visual language that captures sensations and realities that defy vocalization — further shedding light on objectification, racial and gender discrimination, historical erasure, and medical injustice — issues linked to political concepts like feminism, race, and class.