YWCA hosts annual art gallery with new Pride Month theme | News


For the past four years, the organization based in Schenectady’s historic Stockade neighborhood has put on an art gallery in collaboration with C.R.E.A.T.E. Community Studios. Featured in the exhibit are YWCA employees and residents, as well as community members who submit their work. In previous years, the gallery was on display throughout March as a nod to International Women’s Month, while this year they expanded the call for artists and are displaying the works throughout June, which is Pride month. The gallery is open seven days a week, from 10 a.m. to 8 p.m. throughout June at 44 Washington Ave.


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More than a dozen works in multiple mediums are on display, with artists bringing a variety of perspectives.

Fany De La Cruz moved to Schenectady from the Dominican Republic four years ago. Around that time, she began painting with encouragement from a YWCA counselor.

“Since that day, I’ve been in love. It’s something that heals me,” she said.

On display were three works of hers, “I’m Here. Not Leaving Nowhere,” “I See You,” and “Fenix Phoenix.”







Jude Dolton

Jude Dolton, of Glens Falls, poses for a photo beside two photographs of her’s on display at the YWCA in Schenectady. 




“I’m Here. Not Leaving Nowhere” depicts a chick who’s just hatched. Thoughtful texture in his young, fluffy feathers makes for a realistic portrayal of the baby bird. De La Cruz was inspired to paint something depicting bravery and boldness — a refusal to shy away. Surrounding the chick are light pink flowers in a simpler style.

“I wanted him to stand out, nothing competing against him,” said De La Cruz.

For photographer Sue Clark of Schenectady, things got a little more surreal. Mannequins, dressed and posed for store windows, are the subjects of her photos.

“People think dolls and mannequins are creepy, I wanted to show people that no, they actually can be beautiful,” said Clark.

The doll-like faces with neon bob haircuts walk a line between scary and serene. Clark frames the subject in different positions, almost tricking you into thinking the model is a human woman being directed for each shot.