Thesis contents graphic, cropped

Image from JL Gagnon’s ‘Surviving the Dissertation or Thesis Proposal’

Gina Dominique, ‘Procreate’s Skin Tones’, digital painting, 2022

“Skin Deep- On Abstract Painting and The Nature of Beauty” deinstallation, Stevenson University Greenspring Gallery, Stevenson, MD, 2023. Photo credit: Baird Hersey

LJMU Doctoral Academy Training Workshop, Bringing Your Research to Life: Planning for Impact with Emily Walker, Opening slide, October 2023

Gina Dominique, Screen shot, pictured (left) “Imaginative Research,” Acrylic on Linen, 30 x 24 in, 2022, Photo credit: Chan Chao, and text (right) from Transart Instagram feature, October 2023.

Zeerak Ahmed, Systems Thinking for Artists

Gina Dominique, “Skin Deep-On Abstract Painting & The Nature of Beauty”, installation view, 2023, Greenspring Gallery, Stevenson University, Stevenson, MD

Photo credit: Chan Chao

Gina Dominique in front of work in ‘Skin Deep- On Abstract Painting & The Nature of Beauty’, August 27-October 10, 2023, Stevenson University, Stevenson, MD

Photo credit: Chan Chao

Gina Dominique, ‘Procreate’s Skin Tones’, digital painting, 2022

“The John Gesture,” Acrylic on Canvas, 10 x 14 in., 2021-22, and “Populus, Humilis et Divinus, (People, Humble and Divine),” Acrylic on linen, 180 x 38 in., 2023. Installation view, Greenspring Gallery, Stevenson University, Stevenson, MD

Photo credit: Chan Chao

“Stretched And Ready To Go,” text from Johnny re: picking up one of my 3-part painting after he stretched it at SoHo Art Materials’ Brooklyn factory. Photo credit: Johnny

TT Session 28- Liverpool, Marie France’s pic of me… in her words, “…looking very English”, July 2023

Gina Dominique, ‘Procreate’s Skin Tones’, digital painting, 2022

Studio pic of emoji-Fitzpatrick Scale chart inspired mural, in progress, July 2023

Transart Intensive reading journal entry

Gina Dominique, black, brown, and white skin tones test strips, June, 2023

Britta Fluevog, ‘Gina on the train to Manchester’, July 2023

Gina Dominique, ‘Procreate’s Skin Tones’, digital painting, 2022

Wangechi Mutu, People in Glass Towers Should Not Imagine Us, 2003.

Courtesy the Artist/Collection of Jeanne Greenberg Rohatyn and Nicholas Rohatyn, New York