{"product_id":"world-trade-feelings-eva-bouzard-hui-c-1992","title":"World Trade Feelings - Eva Bouzard-Hui, c. 1992","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\u003eWorld Trade Feelings\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e looks beyond commerce and borders to the emotions carried through every human exchange. Bouzard-Hui reminds us that globalization is never purely economic—it is shaped by hope, dependence, inequality, and the fragile connections binding distant lives together.\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\u003eWorld Trade Feelings\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eEva Bouzard-Hui, c. 1992\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 constructs \u003cstrong\u003e\u003cem\u003eWorld Trade Feelings\u003c\/em\u003e\u003c\/strong\u003e through layered watercolor washes in blue, turquoise, green, violet, and muted rose. The image initially reads as an urban landscape, yet its spatial relationships quickly become abstract. Buildings dissolve into vegetation, atmospheric haze resembles water, and the central architectural form begins to look like a cubist dream. Rather than documenting the World Trade Center through recognizable perspective, Bouzard-Hui transforms the site into a psychological environment.\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe monumental bird is the composition’s clearest and most commanding presence. Its upright neck and pointed beak rise against the pale blue sky, while its folded wings are described through layered violet, brown, and blue passages. Darker feather-like marks gather along the body, giving the creature enough specificity to feel alive without identifying a precise species. It may be a pigeon, dove, waterbird, or wholly imagined urban creature.\u003c\/p\u003e\n\u003cp\u003eIts extraordinary scale prevents it from functioning as an ordinary bird within a landscape. It appears almost as large as the architecture beneath it, turning the familiar urban bird into a guardian, witness, surrogate human, or embodiment of height itself. Bouzard-Hui repeatedly enlarges animals until they acquire psychological rather than naturalistic significance. Here, the bird becomes the feeling of being above the city.\u003c\/p\u003e\n\u003cp\u003eThis reading is especially suggestive in light of John Vincent’s 1991 BASE jump from the World Trade Center, one year before the work’s 1992 date. The painting need not be understood as a literal account of that event. There is no clearly depicted parachute, falling body, or recognizable narrative sequence. Yet the large bird provides a compelling visual equivalent for the fantasy underlying such an act: the desire to exchange the limitations of the human body for the freedom of flight.\u003c\/p\u003e\n\u003cp\u003eThe bird is perched rather than airborne, which complicates that association. It has reached the extraordinary elevation from which the jumper would descend, but it remains composed and naturally adapted to the height. What would be a dangerous threshold for a person is simply a resting place for the animal. Bouzard-Hui may therefore be imagining the emotional difference between human risk and avian ease.\u003c\/p\u003e\n\u003cp\u003eA smaller dark bird moves horizontally beneath the larger creature. Its compact body and extended wings make it clearly active in flight. This creates two avian states within the composition: one bird occupies the height with monumental stillness, while the other passes through the surrounding atmosphere. The smaller bird may represent actual flight, while the larger one represents the human imagination of flight—enlarged, symbolic, and weighted by consciousness.\u003c\/p\u003e\n\u003cp\u003eThe pale vertical form supporting the large bird is particularly ambiguous. Its lower portion contains dark rectangular marks resembling windows, masonry, or the gridded façade of a tower. This merging of bird and building is central to the work. The World Trade Center is not treated merely as an external landmark. It becomes something perceived bodily: a source of vertigo, ambition, distance, and emotional projection. The towe carries the bird as though carrying a thought, memory, or dream of flight.\u003c\/p\u003e\n\u003cp\u003eThat transformation is consistent with Bouzard-Hui’s broader practice. Her figures often merge with the structures surrounding them. Bodies become vessels, shields, landscapes, flower arrangements, or habitats for other creatures. In \u003cem\u003eFullness Complaints\u003c\/em\u003e, a pitcher gives rise to a human figure, fish, flowers, and a bird. In \u003cem\u003eSisters\u003c\/em\u003e, reproductive anatomy becomes an inhabited landscape. In \u003cstrong\u003e\u003cem\u003eWorld Trade Feelings\u003c\/em\u003e\u003c\/strong\u003e, architecture becomes a body upon which a bird can perch.\u003c\/p\u003e\n\u003cp\u003eThe cityscape surrounding this central hybrid is fragmented. At the right, a blue rectangular formation is broken into loosely stacked blocks and dark linear marks. It resembles a building façade viewed through atmospheric distortion, but it could equally be read as scaffolding, windows, or a simplified urban grid. Bouzard-Hui avoids the sharp vertical precision associated with skyscraper imagery. Her buildings bleed into their environment.\u003c\/p\u003e\n\u003cp\u003eThe lower left contains darker blue rectangular masses that suggest rooftops, docks, industrial structures, or distant urban blocks. Above them, small pointed forms create a broken skyline. These shapes establish the presence of a city without identifying individual buildings. The World Trade Center becomes less a precisely rendered object than a dominant idea within a broader field of urban sensation.\u003c\/p\u003e\n\u003cp\u003eThe green passages at the left and center complicate the metropolitan imagery. They can resemble trees or shoreline vegetation. Their placement supports the possibility that Bouzard-Hui was recalling the towers from New Jersey, looking toward Manhattan from a position of geographical separation. From that vantage, the skyline would be encountered not as an immediate street-level structure but as an image across distance. Water, weather, foliage, and haze would mediate the view. Bouzard-Hui’s softened forms capture that condition of looking from afar. The city is visible, but never entirely possessed.\u003c\/p\u003e\n\u003cp\u003eThe title reinforces this subjective approach. She did not call the work \u003cem\u003eWorld Trade Center\u003c\/em\u003e, \u003cem\u003eThe Towers\u003c\/em\u003e, or \u003cem\u003eManhattan Skyline\u003c\/em\u003e. \u003cstrong\u003e\u003cem\u003eWorld Trade Feelings\u003c\/em\u003e\u003c\/strong\u003e shifts attention from place to response. “Feelings” permits multiple emotional registers to coexist: wonder, anxiety, pride, estrangement, attraction, fear, and curiosity.\u003c\/p\u003e\n\u003cp\u003eThe phrasing is also characteristic of Bouzard-Hui’s tendency to join concrete subjects with emotional states. Titles such as \u003cem\u003eA Doubtful Spring\u003c\/em\u003e, \u003cem\u003eQuestioned Love\u003c\/em\u003e, \u003cem\u003eFullness Complaints\u003c\/em\u003e, and \u003cem\u003eFlower Sacrifice\u003c\/em\u003e alter how their imagery is understood. They do not simply identify what appears; they describe the psychological condition through which it is being perceived. Here, the World Trade Center becomes inseparable from what it makes someone feel.\u003c\/p\u003e\n\u003cp\u003eThe watercolor medium is especially suited to this task. Bouzard-Hui allows pigments to bloom, overlap, and partially dissolve. The blue sky contains open white gaps, while the green and turquoise lower fields spread without rigid boundaries. This fluidity prevents the urban landscape from acquiring the fixed permanence of architectural drawing.\u003c\/p\u003e\n\u003cp\u003eInstead, the city behaves like memory. Some portions become sharply legible, while others fade into color and atmosphere. The large bird carries the greatest concentration of form, suggesting that the emotional projection may be more vivid than the actual skyline.\u003c\/p\u003e\n\u003cp\u003eThe painting’s perspective also produces a sensation of elevation. The large bird appears above the surrounding urban forms, yet no stable ground explains its position. The viewer seems suspended somewhere between skyline, water, and sky. This spatial uncertainty approximates vertigo: we recognize height without being given a secure location from which to experience it.\u003c\/p\u003e\n\u003cp\u003eThat makes the possible connection to Vincent’s jump especially resonant. The work could embody not the event itself, but the imaginative aftermath of hearing about a person who briefly occupied the realm of birds above one of the world’s most recognizable structures. Bouzard-Hui may have been less interested in the stunt’s mechanics than in the emotional transformation it suggested as a human body momentarily converted into an airborne sign.\u003c\/p\u003e\n\u003cp\u003eThe bird can also represent Bouzard-Hui herself as an observer. From New Jersey, she could imaginatively cross the distance separating her from Manhattan. The bird sees from above and travels without regard for municipal boundaries, rivers, streets, or property. It offers an ideal form for reflection from afar.\u003c\/p\u003e\n\u003cp\u003eWithin Bouzard-Hui’s larger bird imagery, \u003cstrong\u003e\u003cem\u003eWorld Trade Feelings\u003c\/em\u003e\u003c\/strong\u003e occupies an important position. Her birds frequently negotiate freedom and limitation. In \u003cem\u003eA Doubtful Spring\u003c\/em\u003e, the bird announces renewal but remains associated with hesitation. In \u003cem\u003eCaught\u003c\/em\u003e, a bird’s wings become entangled in a trap-like structure. In \u003cem\u003eDestination Pin Point\u003c\/em\u003e, birds embody competing routes and states of possession. Here, the bird is neither trapped nor clearly departing. It has achieved elevation and remains there.\u003c\/p\u003e\n\u003cp\u003eThat stillness distinguishes the work. The bird does not appear frightened by the city or overwhelmed by the scale of the towers. It calmly inhabits what humans experience as extraordinary. Bouzard-Hui may be using the creature to imagine freedom not as dramatic escape, but as the ability to feel at home within great height.\u003c\/p\u003e\n\u003cp\u003eThe smaller flying bird below preserves the more conventional association with movement, while the monumental bird becomes almost architectural. Its folded wings, upright neck, and heavy body give it the stability of a tower. Bird and building exchange properties: the structure becomes animate, and the animal becomes monumental.\u003c\/p\u003e\n\u003cp\u003eThis exchange allows \u003cstrong\u003e\u003cem\u003eWorld Trade Feelings\u003c\/em\u003e\u003c\/strong\u003e to operate between landscape, allegory, and psychological self-portrait. It can be read as a distant view of Manhattan, a response to an act of aerial risk, an identification with the bird’s perspective, or a meditation on the emotional authority of the skyline.\u003c\/p\u003e\n\u003cp\u003eThe 1992 date also preserves the World Trade Center within a specific earlier historical consciousness. Bouzard-Hui encounters it here as an active landmark associated with height, commerce, ambition, visibility, and daring. The work’s meaning today may inevitably be affected by later history, but its imagery emerges from a moment when the towers could still inspire fantasies of ascent, observation, and flight.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eWorld Trade Feelings\u003c\/em\u003e\u003c\/strong\u003e is less about representing a famous structure than about translating its scale into an internal experience. The skyline dissolves, the tower acquires a face, and a bird grows large enough to inhabit architecture as naturally as a branch. Bouzard-Hui turns distance into reflection and height into emotional possibility, leaving the viewer suspended between the grounded city and the freedom imagined above it.\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: Cityscape \/ Animal\u003c\/li\u003e\n\u003cli\u003eSize: 7 x 5.5 in (17.78 x 13.97 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\u003e1990 - 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":46822584451233,"sku":"ART269","price":450.0,"currency_code":"USD","in_stock":true}],"url":"https:\/\/visardgallery.com\/products\/world-trade-feelings-eva-bouzard-hui-c-1992","provider":"Visard Gallery","version":"1.0","type":"link"}