{"product_id":"one-thousand-fall-eva-bouzard-hui-c-1999","title":"One Thousand Fall - Eva Bouzard-Hui, c. 1999","description":"\u003carticle dir=\"auto\" class=\"text-token-text-primary w-full focus:outline-none [--shadow-height:45px] has-data-writing-block:pointer-events-none has-data-writing-block:-mt-(--shadow-height) has-data-writing-block:pt-(--shadow-height) [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-10 [--thread-content-margin:--spacing(4)] @w-sm\/main:[--thread-content-margin:--spacing(6)] @w-lg\/main:[--thread-content-margin:--spacing(16)] px-(--thread-content-margin)\"\u003e\n\u003cdiv class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\u003cdiv class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\" dir=\"auto\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\"\u003e\n\u003cdiv class=\"rte-table-wrapper\"\u003e\n\u003ctable height=\"1543\" style=\"width: 98.087%;\" width=\"100%\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eWhy This Work Matters\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan\u003eOne Thousand Fall\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e gives poetic scale to the experience of repeated loss, suggesting not one collapse but countless small endings carried over time. Bouzard-Hui transforms falling into something both devastating and necessary—a cycle of surrender through which change, survival, and renewal become possible.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003e\u003cbr\u003eArtwork Description\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLove \u0026amp; Life\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eEva Bouzard-Hui, c. 1985\u003c\/em\u003e\u003c\/p\u003e\n\u003carticle dir=\"auto\" class=\"text-token-text-primary w-full focus:outline-none [--shadow-height:45px] has-data-writing-block:pointer-events-none has-data-writing-block:-mt-(--shadow-height) has-data-writing-block:pt-(--shadow-height) [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-10 [--thread-content-margin:--spacing(4)] @w-sm\/main:[--thread-content-margin:--spacing(6)] @w-lg\/main:[--thread-content-margin:--spacing(16)] px-(--thread-content-margin)\"\u003e\n\u003cdiv class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\u003cdiv class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\" dir=\"auto\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\"\u003e\n\u003cdiv class=\"markdown prose dark:prose-invert w-full wrap-break-word dark markdown-new-styling\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\u003cdiv class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\" dir=\"auto\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\"\u003e\n\u003cdiv class=\"markdown prose dark:prose-invert w-full wrap-break-word dark markdown-new-styling\"\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003eEva Bouzard-Hui organizes \u003cstrong\u003e\u003cem\u003eOne Thousand Fall\u003c\/em\u003e\u003c\/strong\u003e as a saturated field of spiritual and visual excess. Nearly the entire sheet is covered by radiant yellow, giving the composition the intensity of sunlight, revelation, heat, or sacred illumination. Against this field, spirals, dots, birds, figures, botanical marks, and architectural fragments appear to circulate without submitting to conventional perspective. The image behaves less like a narrated biblical scene than like a visual response to music, scripture, and the emotional experience of divine protection amid catastrophe.\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe central birdlike figure provides the composition’s clearest anchor. Its upright body is outlined in blue, green, red, and brown, while the handwritten phrase “Thousand Fall” runs across its chest. The creature may be read as a bird, angel, messenger, or hybrid human presence. Its head turns slightly, and its vertical posture contrasts with the more scattered movement around it.\u003c\/p\u003e\n\u003cp\u003eBirds throughout Bouzard-Hui’s practice frequently mediate between earthly limitation and imagined freedom. They may herald uncertain renewal, become trapped, search for a destination, or occupy heights unavailable to the human body. In \u003cstrong\u003e\u003cem\u003eOne Thousand Fall\u003c\/em\u003e\u003c\/strong\u003e, the birdlike figure seems to embody survival. It remains standing while the surrounding field evokes innumerable descents.\u003c\/p\u003e\n\u003cp\u003eThe title’s source in Psalm 91:7 establishes this contrast:\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e“Though a thousand may fall at your side, and ten thousand at your right hand, no harm will come near you.”\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eThe verse does not deny disaster. Its promise of protection is meaningful precisely because destruction remains visible on every side. Bouzard-Hui translates that tension into composition. The central figure is not placed within a calm sanctuary; it stands amid proliferating marks whose quantity and movement imply danger, multitudes, and instability.\u003c\/p\u003e\n\u003cp\u003eThe countless dots across the lower half are especially important. Red, blue, green, and brown points spread through the yellow terrain like falling bodies, seeds, raindrops, sparks, musical notes, or statistical records. They evoke number without allowing themselves to be counted. “A thousand” becomes not a precise total but an overwhelming visual condition.\u003c\/p\u003e\n\u003cp\u003eThese dots may also represent mercy. The verso inscription reads:\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e“Elijah no. 5 pp. 30\u003cbr\u003eHis mercies on thousands fall\u003cbr\u003eYet doth the lord 23.”\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eBouzard-Hui’s language appears compressed and associative, as it often does in her inscriptions. “His mercies on thousands fall” reverses the emotional direction of the title. In the psalm, thousands fall in danger; in her wording, mercy itself falls upon thousands. What is intriguing about this is Bouzard-Hui is undermining the original message. Instead of some being protected while others fall according to Psalms; instead, it is mercy that falls upon everyone. This reading is more hopeful and may indicate Bouzard-Hui meant to undermine the meaning in \u003cem\u003eHelp Lord No.1 \u003c\/em\u003ewhere birds did not signify abandonment, but instead hope. \u003c\/p\u003e\n\u003cp\u003eThis double meaning is central to the painting. Yellow descends from the upper field, circular forms drift across the page, and dots accumulate below. The composition does not distinguish clearly between what threatens and what protects. Bouzard-Hui suggests that divine action may be experienced through the same visual language as disaster: force arriving from beyond human control.\u003c\/p\u003e\n\u003cp\u003eThe spirals reinforce this ambiguity. Large green circles and coils move across the upper portion and gather around the right side. They resemble whirlwinds, halos, eyes, flowers, sound waves, or repeated cycles. Within the context of \u003cem\u003eElijah\u003c\/em\u003e, they may recall divine weather, prophetic signs, or the visual rhythm of music unfolding through time.\u003c\/p\u003e\n\u003cp\u003eSpirals recur elsewhere in Bouzard-Hui’s practice as signs of inward thought, growth, entanglement, and continuing motion. Here, they prevent the composition from settling into a simple vertical fall. Everything descends, circles, and rises again. The threatened multitude becomes part of a larger spiritual cycle.\u003c\/p\u003e\n\u003cp\u003eAt the upper center-left, a red ribbonlike form composed of birds sweeps laterally through the spirals. It appears airborne, its long wings extended as though passing through the field of falling marks. This smaller moving creature contrasts with the stationary central figure. One survives by remaining upright; another survives through flight.\u003c\/p\u003e\n\u003cp\u003eThe right side contains a tall, loosely articulated form that reads as a flower. Blue and green contours curl around it, while yellow space passes through its body. Like many Bouzard-Hui figures, it is layered with line and superimposition.\u003c\/p\u003e\n\u003cp\u003eAt the far left, a tall striped structure rises from the lower edge. It resembles a ladder, organ pipe, architectural column, curtain, or section of a monumental building. Its verticality gives the composition a faintly theatrical or musical frame. Because Mendelssohn’s \u003cem\u003eElijah\u003c\/em\u003e is an oratorio, such forms can be understood as visual equivalents for structured sound: bars, staves, ascending scales, or the architecture within which choral voices gather.\u003c\/p\u003e\n\u003cp\u003eThe relationship to music is strengthened by the sheet’s varied marks. Dots function like notes, spirals like sustained phrases, birds like melodic leaps, and repeated verticals like measured beats. Bouzard-Hui does not illustrate the score, but she appears to absorb its rhythm into her mark-making.\u003c\/p\u003e\n\u003cp\u003eThe verso notation “Elijah no. 5” is significant because it confirms that the work belonged to, or was intended for, a numbered sequence. This aligns it with \u003cem\u003eHelp Lord No. 1\u003c\/em\u003e, another work connected to Mendelssohn’s \u003cem\u003eElijah\u003c\/em\u003e. In that sheet, figures raise their arms beneath an unsettled sky while the verso preserves a line lamenting that “no power cometh to help us.” \u003cstrong\u003e\u003cem\u003eOne Thousand Fall\u003c\/em\u003e \u003c\/strong\u003eappears to move the sequence from unanswered plea toward the possibility of protection and mercy.\u003c\/p\u003e\n\u003cp\u003eThe notation “pp. 30” likely records a page reference in the score, libretto, or source Bouzard-Hui was using. It gives the work the character of a visual study made in active dialogue with music and text. The image is not merely inspired by \u003cem\u003eElijah\u003c\/em\u003e in a general sense; Bouzard-Hui appears to have been following and organizing particular passages.\u003c\/p\u003e\n\u003cp\u003eThe final “23” in the inscription remains less certain. It may refer to another page, numbered passage, or perhaps Psalm 23, but the surviving notation does not allow that to be established conclusively. Its ambiguity is characteristic of Bouzard-Hui’s working process: text, number, image, and memory remain partially open rather than fully documented.\u003c\/p\u003e\n\u003cp\u003eWithin her broader practice, \u003cstrong\u003e\u003cem\u003eOne Thousand Fall\u003c\/em\u003e\u003c\/strong\u003e demonstrates how readily Bouzard-Hui’s personal motifs could absorb religious and musical sources. Birds remain messengers; flowers and circles suggest renewal; dots become multitudes; figures emerge as witnesses; and landscape becomes psychological atmosphere. She does not abandon her established visual vocabulary to illustrate scripture. She translates scripture into that vocabulary.\u003c\/p\u003e\n\u003cp\u003eThe brilliant yellow is especially unusual in its dominance. It can signify divine radiance, but its intensity also borders on the overwhelming. Protection is not represented as soft comfort. It is nearly blinding. Bouzard-Hui’s spiritual imagery retains the emotional magnitude of the biblical narrative: faith exists beside drought, danger, death, and forces beyond comprehension.\u003c\/p\u003e\n\u003cp\u003eThe painting’s repeated circles and falling points also create a tension between individuality and multitude. The psalm speaks in enormous numbers—one thousand and ten thousand—while promising safety to the singular “you.” Bouzard-Hui reflects this mathematically unequal relationship by surrounding one central figure with innumerable smaller marks. The individual appears visually vulnerable, yet remains identifiable.\u003c\/p\u003e\n\u003cp\u003eThat survival does not necessarily imply triumph. The birdlike figure is pale and lightly drawn, almost transparent against the aggressive yellow. It survives, but precariously. Bouzard-Hui preserves the emotional cost of witnessing others fall even when one remains unharmed. This complexity keeps the work from becoming a simple image of divine reassurance. Protection may bring gratitude, but it can also bring bewilderment, isolation, or responsibility. The survivor stands within a field still marked by thousands.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eOne Thousand Fall\u003c\/em\u003e\u003c\/strong\u003e visualizes scripture as an unstable exchange between terror, mercy, and grace. The dots fall like bodies and blessings; the circles turn like weather and music; birds cross the illuminated field; and one fragile figure remains upright. Through the numbered \u003cem\u003eElijah\u003c\/em\u003e sequence and the verso inscription, Bouzard-Hui frames the painting as part of a larger meditation on faith—not as certainty, but as the attempt to recognize mercy while surrounded by forces that appear overwhelming.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n-\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003eJonathan Flike\u003c\/strong\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/em\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/article\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eAbout the Artist\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003e\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003eEva Bouzard-Hui \u003c\/strong\u003e\u003c\/span\u003e(1936–2023) was an American artist, ceramicist, poet, educator, and community advocate whose career spanned more than six decades. Working across painting, drawing, ceramics, collage, photography, handmade paper, book arts, and poetry, she developed an intimate visual language centered on relationships, memory, vulnerability, spirituality, and emotional transformation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eBorn in Columbia, South Carolina, and raised in the small town of North, Bouzard-Hui earned a B.A. in Art Education from the University of South Carolina in 1957. She later moved to New York, receiving an M.A. in Art Education from Teachers College, Columbia University, in 1961 and an Ed.D. in College Teaching from its Arts and Art Education Department in 1993. Her continuing studies included ceramics at Greenwich House Pottery, book arts in New York, Chinese brush painting, and traditional Chinese mounting.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eIn 1961, Bouzard-Hui began a more than thirty-year career in the Caldwell–West Caldwell public schools of New Jersey. She taught at the middle- and high-school levels and eventually chaired the Art Department and ceramics program at James Caldwell High School. She also held teaching appointments at Middlesex County College, Essex County College, Teachers College, and Georgian Court College. For Bouzard-Hui, education was not separate from studio practice; teaching, experimentation, and encouraging others to discover their own creative language remained central to her life.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eBouzard-Hui met and later married the Chinese-born American ceramicist Ka Kwong Hui, whose work and knowledge of Chinese ceramic traditions contributed to their shared artistic environment. Her own engagement with China expanded through a Geraldine R. Dodge Foundation grant to study at the ceramic factories of Jingdezhen. She later lectured and demonstrated at schools and ceramic institutions in China and Hong Kong while also exhibiting as a visiting artist.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eHer exhibition career began with a solo presentation at Columbia University in 1961 and continued into the 2010s. Her work was shown at the New Jersey State Museum, Teachers College, the Paterson Museum, Georgian Court College, Phoenix Gallery and the Interchurch Center in New York, Agora Gallery, Studio Montclair, and numerous regional galleries and cultural institutions. Works by Bouzard-Hui are documented in institutional, educational, presidential, and private collections.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eAlthough ceramics remained foundational to her practice, Bouzard-Hui resisted identification with a single medium. Her works on paper combine ink, watercolor, graphite, colored pencil, collage, handmade paper, and handwritten language. Figures, hearts, animals, flowers, vessels, chairs, and domestic objects frequently become carriers of emotion. Titles and inscriptions function as extensions of the imagery, transforming individual works into visual poems, questions, private jokes, prayers, or fragments of correspondence.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThis relationship between art and communication is especially evident in her artist-designated \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“Sealed Art”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e series. These works were enclosed, folded, wrapped, or sealed so that opening them became part of the artistic experience. The revealed image and handwritten message often resemble a personal greeting card, turning the artwork into an exchange between artist and recipient.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eBouzard-Hui also used art as a form of service. She taught through CARE in Biafra, facilitated race-relations programs, worked with shelter residents, led poetry groups at the Essex County Jail Annex, and provided art instruction to incarcerated individuals at East Jersey State Prison. Her career reflects a sustained belief that creative work could provide dignity, connection, humor, and emotional freedom.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAcross her many media, Bouzard-Hui treated the handmade object as a vessel for human experience. Her work asks how tenderness and imagination might endure pain, separation, and uncertainty—and how an artwork might carry those feelings from one person to another.\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eUnderrepresented Artist Information\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eDespite a career spanning more than six decades, \u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003eEva Bouzard-Hui\u003c\/strong\u003e\u003c\/span\u003e remains largely absent from broader accounts of postwar American art. Her relative obscurity does not reflect a lack of training, exhibition history, or sustained artistic production. Rather, it illustrates how artists working outside dominant commercial centers—and especially women whose careers combined studio practice, teaching, craft, and community service—have often been overlooked by the market and art-historical record.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eBouzard-Hui worked across ceramics, painting, drawing, collage, photography, poetry, handmade paper, and book arts. This movement between media enriched her practice but also placed her outside the easily defined categories through which artists are frequently promoted and collected. Ceramics and art education, both central to her career, have historically received less institutional attention than painting and sculpture produced for the commercial gallery system. Her extensive work in schools, shelters, prisons, and community programs further positioned art as a social and educational practice rather than solely as a market commodity.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eAlthough Bouzard-Hui exhibited regularly in New York, New Jersey, and institutional settings, much of her career developed through cooperative galleries, colleges, libraries, community organizations, and regional cultural networks. These venues allowed her to maintain an independent and experimental practice, but they rarely produced the sustained critical documentation or secondary-market visibility that establishes long-term recognition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eHer surviving work reveals an artist of remarkable emotional and material range. Bouzard-Hui addressed love, grief, faith, confinement, humor, memory, and human connection through imagery that could be whimsical, unsettling, tender, or deeply introspective. Her intimate works on paper and artist-designated “Sealed Art” also challenge conventional assumptions about artistic importance by locating meaning in small scale, handwritten language, private exchange, and personal discovery.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRecovering Bouzard-Hui’s work contributes to a broader reassessment of women artists, artist-educators, ceramicists, and regionally active creators whose achievements have remained fragmented across archives, private collections, and personal histories. Her practice demonstrates that significance is not determined solely by market recognition, but by the originality, persistence, and humanity of the work itself.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eCustom Shipping Notice\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eN\/A\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eInformation\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eStyle: Modern\u003c\/li\u003e\n\u003cli\u003eSubject: Animal\u003c\/li\u003e\n\u003cli\u003eSize: 12.0 x 9.0 in (30.48 x 22.86 cm)\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eMedium: Watercolor\u003c\/li\u003e\n\u003cli\u003eMaterial: Paper\u003c\/li\u003e\n\u003cli\u003eSignature: Signed\u003c\/li\u003e\n\u003cli\u003eCirculation status: One of a kind\u003c\/li\u003e\n\u003cli\u003eFrame Status: Unframed\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eVintage Condition Disclaimer\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003ePlease note that this item is vintage and shows wear consistent with age, use, and history. Signs of wear may include, but are not limited to, minor surface marks, patina, fading, or imperfections typical of older items. All items are sold\u003cstrong\u003e as-is\u003c\/strong\u003e, which is standard with vintage and pre-owned goods and cannot be returned on the basis of condition. Measurements are approximate. We do our best to describe items accurately; however, condition assessments are subjective. If you would like additional details, images, or clarification before purchasing, please contact us through the contact form.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eSpecial Condition Notes\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eN\/A\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eProvenance*\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1985 - 2023\u003c\/strong\u003e: Eva Bouzard-Hui\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2023 - 2026\u003c\/strong\u003e: Auctions at Showplace\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2026 - Present\u003c\/strong\u003e: Visard Gallery \u003c\/p\u003e\n\u003ch6\u003e\u003cem\u003e*Provenance and attribution details are based on our best research and are offered in good faith but are not guaranteed. Please contact us through the contact form with any questions prior to purchase.\u003c\/em\u003e\u003c\/h6\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eAcademic Resources\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003ca href=\"https:\/\/www.dropbox.com\/scl\/fo\/jgnv7n5545dbl2tr51opt\/AO3JOcF-ZrgEHHcgzKXRSmU?rlkey=b6di40rzbcg13glc5dztwg00f\u0026amp;st=ti5mvuli\u0026amp;dl=0\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003eEva Bouzard-Hui Research\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003ca href=\"https:\/\/www.dropbox.com\/scl\/fo\/azy0g1jiiuwoqobunfvnr\/AGNcmO5EW9EmfgkXAAtYTGg?rlkey=4fny60lhndc49gpfh98y8e84j\u0026amp;st=45vm26dt\u0026amp;dl=0\" style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.artsy.net\/artist\/eva-bouzard-hui\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003eEva Bouzard-Hui_Artsy\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003ca href=\"https:\/\/maplewood.worldwebs.com\/calendar\/detail\/eva-bouzard-hui-presents-prints-from-prison-art-73\" style=\"color: rgb(81, 185, 217);\" rel=\"noopener\" target=\"_blank\"\u003eEva Bouzard-Hui_Maplewood Online\u003c\/a\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/patch.com\/new-jersey\/caldwells\/bouzard-hui-honored-as-older-americans-heritage-month-winner\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003eEva Bouzard-Hui_Older Americans Heritage Month Winner\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.themarksproject.org\/marks\/bouzard-hui\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003eEva Bouzard-Hui_The Marks Project\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/article\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Visard Gallery","offers":[{"title":"Default Title","offer_id":46827986747553,"sku":"ART272","price":450.0,"currency_code":"USD","in_stock":true}],"url":"https:\/\/visardgallery.com\/products\/one-thousand-fall-eva-bouzard-hui-c-1999","provider":"Visard Gallery","version":"1.0","type":"link"}