{"product_id":"paper-doll-thoughts-eva-bouzard-hui-c-1985","title":"Paper Doll Thoughts - Eva Bouzard-Hui, c. 1985","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)))]\" tabindex=\"-1\"\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\" tabindex=\"-1\"\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\u003cstrong\u003e\u003cem\u003ePaper Doll Thoughts\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e makes the figure itself the artwork’s physical boundary, with the paper cut directly to the shape of the body. Bouzard-Hui turns a playful paper-doll format into something more psychological, collapsing the distance between outer form and inner thought.\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\u003ePaper Doll Thoughts\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)))]\" tabindex=\"-1\"\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\" tabindex=\"-1\"\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\"\u003e\u003cstrong\u003e\u003cem\u003ePaper Doll Thoughts\u003c\/em\u003e\u003c\/strong\u003e is one of the clearest examples of Eva Bouzard-Hui collapsing the distinction between depicted body and physical artwork. Its most unusual feature is not merely the seated figure but the support itself: the sheet has been cut around the contours of the body so that the paper assumes the silhouette of the person it represents. The artwork is therefore both image and object.\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThat decision significantly changes how the figure is perceived. On a rectangular sheet, a body occupies pictorial space. Here, the body determines where the artwork ends. The outer edge follows the shoulder, torso, bent knees, crossed legs, and feet, effectively removing the conventional background. Bouzard-Hui makes the human figure into the frame.\u003c\/p\u003e\n\u003cp\u003eThis physical treatment directly reinforces the title’s reference to a paper doll. Paper dolls exist in an unusual state between representation and objecthood. They depict bodies but are also things that can be held, repositioned, clothed, arranged, and combined. Bouzard-Hui had already begun using paper-doll-like devices elsewhere in her imagery, including small projecting tabs attached to figures. In \u003cem\u003eCome Nest on Me\u003c\/em\u003e, for example, those tabs make the bodies appear assembled from potentially detachable parts.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003ePaper Doll Thoughts\u003c\/em\u003e\u003c\/strong\u003e pushes that idea considerably further. Rather than merely drawing the visual language of the paper doll, Bouzard-Hui makes the artwork itself behave like one. The figure could theoretically be lifted from the wall or laid against another surface without the mediation of a rectangular pictorial field.\u003c\/p\u003e\n\u003cp\u003eThis object quality is important within Bouzard-Hui’s broader exploration of unstable identity. Her figures repeatedly refuse to remain anatomically or psychologically singular. Bodies merge with animals, flowers, vessels, architectural structures, other figures, or symbolic systems. Here, the outer body appears relatively coherent, but the interior becomes a site of multiplication.\u003c\/p\u003e\n\u003cp\u003eThe seated pose provides an initial sense of stability. The figure sits cross-legged, knees raised and legs folded tightly into the silhouette. The posture can suggest repose, meditation, intimacy, or inward concentration. Bouzard-Hui then destabilizes that calm exterior by filling the body with multiple visual identities.\u003c\/p\u003e\n\u003cp\u003eThe principal face occupies the upper left. It is delicately modeled in gray, brown, green, and pale flesh tones, with a composed mouth and a direct but somewhat distant eye. Beside and partly over it is a vivid pink face or mask. This second facial presence is not clearly attached to a complete independent body. Instead, it seems to inhabit the same head-space.\u003c\/p\u003e\n\u003cp\u003eThe overlap creates a compelling interpretation of “thoughts.” Bouzard-Hui does not represent thought through a conventional thought bubble or written text. She gives thought another face. Interior consciousness becomes a second personality temporarily superimposed over the first.\u003c\/p\u003e\n\u003cp\u003eThis treatment aligns with her recurring tendency to distribute psychological states across multiple figures. In \u003cem\u003eSolemn Questions?\u003c\/em\u003e, three bodies seem to embody competing modes of thought. In \u003cem\u003eOh Yes—I See, I See\u003c\/em\u003e, different figures participate in stages of recognition. In works such as \u003cem\u003eQuestioned Love\u003c\/em\u003e and \u003cem\u003eLifeless Love\u003c\/em\u003e, identities overlap so thoroughly that emotional relationship becomes anatomical fusion. \u003cstrong\u003e\u003cem\u003ePaper Doll Thoughts\u003c\/em\u003e\u003c\/strong\u003e internalizes that structure: the second figure appears to exist within the first.\u003c\/p\u003e\n\u003cp\u003eThe bright pink hand raised near the face deepens the sense of doubled identity. It may belong to the pink facial presence, to the principal figure, or to neither in a conventional anatomical sense. The hand seems almost to gesture toward the face, touch the head, or participate in the act of thinking. Bouzard-Hui allows gesture to function psychologically rather than anatomically.\u003c\/p\u003e\n\u003cp\u003eHands are particularly prominent throughout the composition. At the center, another yellow hand curls around a small rounded vessel. Below, a second hand appears against the torso or lap. These repeated hands imply touching, holding, receiving, and containing—actions that recur across Bouzard-Hui’s work as ways of visualizing attachment.\u003c\/p\u003e\n\u003cp\u003eThe central vessel is especially suggestive. It appears as a small green-gray container held close to the body. Its scale and placement make it feel private and intimate, almost like an object being protected. Above it, near the figure’s head and shoulder, Bouzard-Hui includes another vessel-like form: a rounded bowl containing blue and pink passages, topped by a narrow neck or opening.\u003c\/p\u003e\n\u003cp\u003eThese containers connect \u003cstrong\u003e\u003cem\u003ePaper Doll Thoughts\u003c\/em\u003e\u003c\/strong\u003e to a broader motif in Bouzard-Hui’s work. Vessels repeatedly become metaphors for bodies, minds, and emotional capacity. \u003cem\u003eTwo for Tea\u003c\/em\u003e transforms people into cups. \u003cem\u003eFullness Complaints\u003c\/em\u003e imagines a pitcher overflowing with figure, fish, bird, and flowers. In \u003cem\u003eFlower Sacrifice\u003c\/em\u003e, a bouquet-like structure becomes indistinguishable from the body offering it.\u003c\/p\u003e\n\u003cp\u003eHere, the figure both holds a vessel and appears psychologically structured like one. Thoughts, alternate identities, colors, and organic forms accumulate within the paper body. The cut silhouette gives the outer self a definite perimeter, while the interior remains fluid.\u003c\/p\u003e\n\u003cp\u003eThe bowl near the upper body is particularly interesting because it seems to contain waterlike blue passages and a pink loop or organic form. It can be read as a literal vessel, but it also resembles a small reservoir of thought, memory, or emotion. Bouzard-Hui repeatedly blurs distinctions between container and contents, making it difficult to know whether the figure possesses these objects or whether the objects represent internal aspects of the figure.\u003c\/p\u003e\n\u003cp\u003eColor intensifies these internal divisions. The bright yellow of the torso and arm contrasts with the gray and brown head, vivid pink secondary face, green vessel, and multicolored lower body. Rather than using color naturalistically, Bouzard-Hui partitions the figure psychologically. Different colors seem to belong to different emotional zones or identities.\u003c\/p\u003e\n\u003cp\u003eThe yellow body has particular visual force. Yellow can imply warmth, vitality, illumination, or exposure. Against it, the pink and green forms become highly legible, almost like thoughts written across a luminous surface.\u003c\/p\u003e\n\u003cp\u003eAt the lap, a densely worked green, yellow, brown, and red passage sits between the folded legs. It may suggest foliage, fabric, flowers, another creature, or simply an accumulation of gestural color. Bouzard-Hui leaves it unresolved. That ambiguity is consistent with her larger visual language, where botanical, animal, and bodily forms frequently share the same marks.\u003c\/p\u003e\n\u003cp\u003eThe cross-legged posture also gives the lap a container-like shape. The bent legs surround the colorful central area, visually cradling it. The body becomes architecture once again: legs form walls, hands hold vessels, faces contain other faces.\u003c\/p\u003e\n\u003cp\u003eThe work’s relationship to paper-doll imagery is therefore more complex than the novelty of its silhouette. A paper doll implies a simplified outer identity—a recognizable contour upon which different costumes or roles can be placed. Bouzard-Hui complicates that simplicity by filling the silhouette with multiple interior selves.\u003c\/p\u003e\n\u003cp\u003eThis creates an intriguing tension between external definition and internal instability. From the outside, the figure is unmistakably one body. Inside, however, several faces, hands, vessels, colors, and ambiguous forms compete for space. The physical cutout says “one figure”; the imagery says “many states.”\u003c\/p\u003e\n\u003cp\u003eThat tension resonates strongly with Bouzard-Hui’s 1990s practice. Increasingly, her work examines the self not as a stable unit but as an accumulation of relationships, thoughts, memories, symbolic animals, and emotional roles. The paper-doll motif becomes especially fitting because dolls can be assembled, altered, dressed, and repositioned. Identity is treated as something constructed rather than fixed.\u003c\/p\u003e\n\u003cp\u003eThere is also something deliberately playful about the format. The cut paper recalls childhood craft, handmade toys, and domestic creativity rather than the rigid conventions of framed fine art. Bouzard-Hui frequently uses this kind of humor and informality to approach complicated psychological territory. \u003cem\u003eTwo for Tea\u003c\/em\u003e uses teacups; \u003cem\u003eCome Nest on Me\u003c\/em\u003e uses pumpkin-like heads and doll tabs; \u003cem\u003eAbstract Art Folder\u003c\/em\u003e turns an everyday carrying object into artwork. \u003cstrong\u003e\u003cem\u003ePaper Doll Thoughts\u003c\/em\u003e\u003c\/strong\u003e similarly transforms a humble craft vocabulary into a vehicle for thinking about consciousness.\u003c\/p\u003e\n\u003cp\u003eYet the piece never becomes merely whimsical. The secondary face, repeated hands, and enclosed vessels give the work a distinctly introspective quality. There is a suggestion that the visible self is carrying other selves within it.\u003c\/p\u003e\n\u003cp\u003eEven the absence of a traditional surrounding field contributes to that idea. Because the paper ends with the body, there is effectively no world outside the figure. Everything the viewer encounters belongs to the figure’s physical or psychological territory. Bouzard-Hui makes interiority literal.\u003c\/p\u003e\n\u003cp\u003eWithin her broader practice, \u003cstrong\u003e\u003cem\u003ePaper Doll Thoughts\u003c\/em\u003e\u003c\/strong\u003e can therefore be understood as an especially direct statement about constructed identity. The paper body may be cut, portable, and apparently simple, but it carries overlapping faces, held objects, bodily gestures, and ambiguous organic imagery within its borders.\u003c\/p\u003e\n\u003cp\u003eThe quirk of the silhouette is ultimately not incidental presentation; it is conceptually central. Bouzard-Hui does not simply draw a paper doll. She makes the artwork itself into one and then fills that doll with a dense interior life. \u003cstrong\u003e\u003cem\u003ePaper Doll Thoughts\u003c\/em\u003e\u003c\/strong\u003e turns the human figure into both container and artifact—a movable outer form carrying thoughts that refuse to stay neatly contained.\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: Figure\u003c\/li\u003e\n\u003cli\u003eSize: 7 x 12 in (17.78 x 30.48 cm)\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eMedium: Mixed media\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\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\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\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\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\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 \u003c\/p\u003e","brand":"Visard Gallery","offers":[{"title":"Default Title","offer_id":46798036074657,"sku":"ART267","price":450.0,"currency_code":"USD","in_stock":true}],"url":"https:\/\/visardgallery.com\/products\/paper-doll-thoughts-eva-bouzard-hui-c-1985","provider":"Visard Gallery","version":"1.0","type":"link"}