Matriclysm raises quiet, buried threads of feminine memory: the mythologies, rituals, and knowledge that once shaped Jewel's relationship to self, community, and the natural world. At its heart are three touch points:  First Mother, Heart of the Ocean, and The Seven Sisters. They serve as portals into the undiluted feminine power that propelled Jewel's life experience inviting the viewer to share what she sees as primordial and sacred. Surrounding these anchors are objects, images, and artifacts that trace the slow erosion of these forms of knowing. 

Jewel’s paintings present her experiences with the commodification of feminine power, diluted its influence, and severed its connection to lineage, land, and one another. The exhibition moves between reverence and reckoning, unearthing a story both personal and universal, a reflection on what has been lost, and what is yet to be recovered.

Matriclysm invites close listening,  slowness, and touch, forming spaces where meaning resonates between surface, sound, image and viewer. From its open-to-sky threshold, the exhibition deepens into a network of maternal fragments, personal narratives, and live-streamed celestial and oceanic data that invite visitors into an exploration of feminine health, healing, and community.

Find sneak peeks and behind the scenes elements of the exhibit below. Images and information on each portion of the exhibit will be revealed in the upcoming weeks and months.

First Mother

About Matriclysm

In Matriclysm: An Archeology of Connections Lost, Jewel approaches motherhood and feminine systems not as fixed essences, but as historically situated forms of knowledge, embedded in material practices, bodily labor, and relational time. Rather than reconstructing a singular lost past, the exhibition assembles a network of fragments: objects, images, and signals that point to how such systems have been displaced, abstracted, or rendered invisible.

Across sculpture, painting, textile, sound, and data-driven installation, Jewel treats connection as something enacted rather than represented—threaded, weathered, transmitted, and eroded. Many of the works foreground processes of decay, translation, and mediation, emphasizing vulnerability over permanence. In this sense, Matriclysm resists monumentality. It operates instead through accumulation and attenuation, allowing meaning to emerge through abundance, proximity, and slowness, which invite attentive listening.

The exhibition does not propose recovery as restoration, nor loss as purely nostalgic. Instead, it asks what forms of care, lineage, and communal intelligence might remain legible—however partially—within contemporary conditions shaped by extraction, acceleration, and abstraction. By holding together mythic reference, personal narrative, and real-time astronomic and oceanic data, Matriclysm situates the feminine not as origin myth, but as a dynamic field of relations—contested, fractured, and yet vitally active.