{"product_id":"ride-on-sea-turtle-eva-bouzard-hui-c-1986","title":"Ride on Sea Turtle - Eva Bouzard-Hui, c. 1986","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\u003eRide on Sea Turtle\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e turns escape into a whimsical voyage, imagining the sea turtle as both companion and guide. Bouzard-Hui transforms travel into something dreamlike and trusting. It's a reminder that sometimes moving forward means surrendering control and allowing ourselves to be carried somewhere unexpected.\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\u003eRide on Sea Turtle\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 composes \u003cstrong\u003e\u003cem\u003eRide on Sea Turtle\u003c\/em\u003e\u003c\/strong\u003e around the monumental body of a turtle, transforming the animal into subject, shelter, landscape, and vehicle. Its broad green shell occupies the center of the composition, while its lowered head extends toward the left and its tapered rear reaches toward the right. Rather than placing the turtle within an aquatic setting as a separate creature, Bouzard-Hui makes its body the ground upon which the rest of the image is built.\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThis transformation is consistent with her broader tendency to treat bodies as inhabitable structures. Human figures become vessels, shields, bouquets, habitats, and landscapes; animals similarly expand beyond naturalistic scale to accommodate emotional and relational meaning. In \u003cstrong\u003e\u003cem\u003eRide on Sea Turtle\u003c\/em\u003e\u003c\/strong\u003e, the shell becomes a floating world capable of carrying several lives through an active environment.\u003c\/p\u003e\n\u003cp\u003eThe turtle is especially suited to Bouzard-Hui’s recurring concern with protection. Unlike a temporary shelter, its home is inseparable from its body. The shell offers safety while remaining mobile, making the animal a particularly resonant symbol of carrying one’s security through uncertain conditions. Yet the shell here does more than protect the turtle: it supports the figure stretched across it and the smaller creature tucked beneath her torso. Protection becomes communal.\u003c\/p\u003e\n\u003cp\u003eThe reclining figure is nearly mermaid-like. Her head, long hair, arms, breasts, and upper torso remain recognizably human, while her lower body becomes less certain. A sweeping form covered in red, blue, green, and pink marks curves across the turtle’s shell. It may be an elaborately patterned skirt, a mass of flowers, or a broad aquatic tail. Bouzard-Hui allows all three readings to remain active.\u003c\/p\u003e\n\u003cp\u003eThat ambiguity places the figure between human and marine existence. She does not simply ride above the water as an outsider; her body appears increasingly adapted to the world she inhabits. If understood as a mermaid, she becomes a boundary-crossing being capable of belonging to both terrestrial and aquatic realms. If understood as a woman in patterned clothing, her garment still visually merges with the turtle, flowers, and currents around her.\u003c\/p\u003e\n\u003cp\u003eThe figure bends forward and reaches toward the turtle’s head. This gesture distinguishes the scene from traditional images of riders controlling animals. There is no bridle, saddle, or forceful command. The figure lowers herself toward the turtle, creating an intimate point of contact. Her posture suggests gratitude, affection, or simple acknowledgment of the creature carrying her.\u003c\/p\u003e\n\u003cp\u003eThe title reinforces that gentler relationship. “Ride on sea turtle” can be read as a description, but it also sounds like an invitation or encouragement: ride onward, continue the journey, trust this living vessel. The phrase gives the image the openness of a private fantasy or children’s tale while preserving Bouzard-Hui’s more serious interest in dependence and mutual care.\u003c\/p\u003e\n\u003cp\u003eA smaller creature nestles beneath the figure’s upper body. Its identity is difficult to establish, but its compact head and intimate position give it the appearance of another dependent being being sheltered during the journey. The turtle therefore carries not one isolated rider but a small gathering. Bouzard-Hui repeatedly creates such improbable communities, joining human beings, domestic animals, birds, fish, flowers, and hybrid creatures within one shared psychological space.\u003c\/p\u003e\n\u003cp\u003eThe fish surrounding the central group establish a contrasting tempo. Rendered in brilliant orange, they dart through blue currents at the left, right, and lower portions of the sheet. Their bodies are small, repeated, and directional, giving the water a lively circulating rhythm. Against their speed, the turtle appears steady and deliberate.\u003c\/p\u003e\n\u003cp\u003eFish recur in Bouzard-Hui’s visual language as creatures of submerged or inaccessible realms. In \u003cem\u003eA Catch Away\u003c\/em\u003e, a human face embedded within a fish complicates the desire to capture it. In \u003cem\u003eFullness Complaints\u003c\/em\u003e, fish emerge improbably from a pitcher alongside flowers, a bird, and a human figure. They often suggest emotions, memories, or identities moving beneath the surface of ordinary perception.\u003c\/p\u003e\n\u003cp\u003eHere, the fish remain comparatively free. They are neither caught nor contained; they accompany the turtle’s passage. Their bright orange coloring makes them appear like flashes of energy within the cooler water, suggesting that the journey takes place through a living environment rather than an empty symbolic sea.\u003c\/p\u003e\n\u003cp\u003eThe water is constructed through layered blue, turquoise, violet, and green strokes rather than a continuous wash. Horizontal lines establish currents, while clustered upright marks resemble reeds, coral, underwater grasses, or shadows beneath the surface. Bouzard-Hui does not distinguish firmly between water and vegetation. The aquatic world is formed from an accumulation of marks whose identities remain fluid.\u003c\/p\u003e\n\u003cp\u003eThis is important because the environment appears to respond to the central beings. Currents wrap around the turtle, fish circle its shell, and patterned marks echo the textures of the figure’s clothing or tail. Animal, rider, and landscape seem generated from the same energetic material.\u003c\/p\u003e\n\u003cp\u003eFlowers also appear within and around the nearly mermaid-like figure. Small blossoms rise near her back, while floral patterns spread across the curved lower form. Bouzard-Hui frequently uses flowers to express attachment, beauty, renewal, sacrifice, and impermanence. In this work, they seem less burdened by loss than in pieces such as \u003cem\u003eFlower Sacrifice\u003c\/em\u003e or \u003cem\u003eFlower Beyond Your Grasp\u003c\/em\u003e. They contribute to the rider’s hybrid identity, allowing her body to combine human, botanical, and marine imagery.\u003c\/p\u003e\n\u003cp\u003eThe flowers may also suggest that the turtle carries a garden as well as a rider. Bouzard-Hui transforms the shell into an ecosystem where different forms of life coexist. This intersection of animal, plant, and person anticipates the elaborate symbolic ecologies she would continue to develop, particularly in the 1990s.\u003c\/p\u003e\n\u003cp\u003eThe work’s crayon technique strengthens this sense of interconnection. Individual strokes remain visible across the tan paper, producing textures that can resemble shell, fabric, hair, grass, waves, and scales without requiring radically different methods of depiction. Everything appears to arise from the same underlying surface and hand.\u003c\/p\u003e\n\u003cp\u003eThe warm paper is important as well. Its color passes through the lighter areas of the human body, turtle, and environment, subtly unifying them. Bouzard-Hui does not isolate the rider through flesh tone or sharply contrast the turtle against the water. Their outlines overlap, and their colors migrate into one another.\u003c\/p\u003e\n\u003cp\u003eThe turtle motif carries meanings distinct from Bouzard-Hui’s birds. Birds often represent height, freedom, communication, distance, or obstructed flight. The turtle offers another model of movement: slow, protected, and close to the earth or water. It does not escape vulnerability through speed. It survives by carrying shelter and proceeding steadily.\u003c\/p\u003e\n\u003cp\u003eThis makes the turtle a powerful emotional counterpart to the nearly mermaid-like rider. She may be capable of inhabiting the water, but she still accepts the turtle’s support. Bouzard-Hui’s image does not idealize absolute independence. Its fantasy depends upon one being allowing another to ride upon it.\u003c\/p\u003e\n\u003cp\u003eThere is also considerable humor in the arrangement. The enormous turtle, reclining hybrid woman, hidden companion, flowers, and procession of orange fish create an improbable aquatic pageant. Yet the humor is affectionate rather than mocking. It allows Bouzard-Hui to present interdependence without turning the scene into a solemn allegory.\u003c\/p\u003e\n\u003cp\u003eAs an earlier work, \u003cstrong\u003e\u003cem\u003eRide on Sea Turtle\u003c\/em\u003e\u003c\/strong\u003e also helps establish the origins of Bouzard-Hui’s later symbolic vocabulary. Her recurring animals are already functioning as emotional partners; the human body is already merging with costume, flower, and landscape; and the composition already operates as a private ecology rather than a conventional narrative scene.\u003c\/p\u003e\n\u003cp\u003eThe turtle would remain a particularly useful motif because it unites body, home, endurance, and movement. It can bear weight without becoming merely burdened, offer protection without becoming a cage, and travel without abandoning what it carries.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eRide on Sea Turtle\u003c\/em\u003e\u003c\/strong\u003e presents motion as a shared undertaking. The fish animate the surrounding currents, the nearly mermaid-like figure adapts herself to the aquatic world, and the turtle bears this gathering slowly forward. Bouzard-Hui imagines care as a form of transportation: one life becomes the temporary ground upon which another can rest, travel, and continue.\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 \/ Figure\u003c\/li\u003e\n\u003cli\u003eSize: 11.25 x 9.0 in (28.57 x 22.86 cm)\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eMedium: Crayon\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\u003e1986 - 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":46833674715297,"sku":"ART273","price":450.0,"currency_code":"USD","in_stock":true}],"url":"https:\/\/visardgallery.com\/products\/ride-on-sea-turtle-eva-bouzard-hui-c-1986","provider":"Visard Gallery","version":"1.0","type":"link"}