df_m_artists_2_para_w_chatgpt: 12

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rowid	first_name	last_name	gender	career_sec	personal_sec	info	seed_first_name	seed_last_name	occupation	chatgpt_gen
12	Vida	Ashley	f	Nassar bases his work on tatreez (Palestinian cross-stitch embroidery) which is typically created in panels which are stitched together into clothing or other items. Nassar typically creates and frames small panels, many around 8 x 10 inches. The panels' patterns typically feature geometric borders and depict plants and flowers, though the thread colors Nassar uses often do not correspond to those shapes, but to subtle landscapes. Nassar's work depicts cultural elements of his upbringing in the Upper West Side, which he likens to traditional Palestinian embroidery, where each village uses distinct symbols. Some designs also feature technology-related motifs, such as computers, which Nassar links with embroidery as the first form of pixelation. Nassar's earliest work involved copying embroidery patterns from books. Once he learned that each Palestinian village has its own pattern, he began to develop his own patterns resembling Palestinian embroidery but that do not exist in traditional works. Each work contains up to 75,000 individual stitches. Nassar draws inspiration from a number of artists, many of whom work in textile, such as Sheila Hicks, Hannah Ryggen, and Anni Albers; painters including Paul Guiragossian and Helen Frankenthaler; and artists working with alternative media, such as Monir Shahroudy Farmanfarmaian. He sees his work as continuing the conversations their artwork has created. He considers their efforts to be about form, texture, and color, though Nassar primarily tries to address concepts and issues beyond the medium itself. Nassar particularly looks up to Etel Adnan, a Lebanese-American poet, essayist, and visual artist. Since Nassar's first solo exhibition, in London in 2015, he has turned to creating more political works, including focusing on cultural absorption, or absorption of elements of one culture by another. Nassar held a solo exhibition in Los Angeles at Anat Ebgi gallery's AE2 space in 2017. Anat Ebgi presented Nassar's work at the 2018 Frieze New York, an art fair in New York City. In addition to Nassar's embroidery, he also has had managerial positions at the New York City artists book shop Printed Matter, Inc., running the NY Art Book Fair and the art fair Art Los Angeles Contemporary. Nassar started expanding the use of traditional symbols in his work upon spending significant time in the port city of Jaffa, where he stayed for a five-week artist residency in 2017. Arab and Israeli friends, as well as Nassar's husband had advised against the residency, due to the organization's acceptance of financing from supporters of illegal Jewish settlements in Palestine. Nassar decided that boycotting the program would not be impactful, and was impressed that the residency's website was inclusive through its Arabic, Hebrew, and English language versions. The residency included an apartment, studio, stipend, and reimbursement of production funds. Nassar used the funds to visit the West Bank, where he purchased embroideries made by elderly women.	Jordan Nassar is married to the Israeli-born fellow artist Amir Guberstein. The two met while living in Berlin, and their decision to live in New York was spurred by the ruling in United States v. Windsor, the Supreme Court case that overturned the Defense of Marriage Act. Nassar self-identifies as gay, something that has made him feel uncomfortable with the Arabic side of his family, and that made him feel uncomfortable in Palestine, where he also had to hide his tattoos and could not wear any jewelry. Nassar lives and works in New York City.	ashley bases her work on tatreez (palestinian cross-stitch embroidery) which is typically created in panels which are stitched together into clothing or other items. ashley typically creates and frames small panels, many around 8 x 10 inches. the panels' patterns typically feature geometric borders and depict plants and flowers, though the thread colors ashley uses often do not correspond to those shapes, but to subtle landscapes. ashley's work depicts cultural elements of her upbringing in the upper west side, which sh elikens to traditional palestinian embroidery, where each village uses distinct symbols. some designs also feature technology-related motifs, such as computers, which ashley links with embroidery as the first form of pixelation. ashley's earliest work involved copying embroidery patterns from books. once sh elearned that each palestinian village has its own pattern, sh ebegan to develop her own patterns resembling palestinian embroidery but that do not exist in traditional works. each work contains up to 75,000 individual stitches. ashley draws inspiration from a number of artists, many of whom work in textile, such as sheila hicks, hannah ryggen, and anni albers; painters including paul guiragossian and helen frankenthaler; and artists working with alternative media, such as monir shahroudy farmanfarmaian. sh esees her work as continuing the conversations their artwork has created. sh econsiders their efforts to be about form, texture, and color, though ashley primarily tries to address concepts and issues beyond the medium itself. ashley particularly looks up to etel adnan, a lebanese-american poet, essayist, and visual artist. since ashley's first solo exhibition, in london in 2015, sh ehas turned to creating more political works, including focusing on cultural absorption, or absorption of elements of one culture by another. ashley held a solo exhibition in los angeles at anat ebgi gallery's ae2 space in 2017. anat ebgi presented ashley's work at the 2018 frieze new york, an art fair in new york city. in addition to ashley's embroidery, sh ealso has had managerial positions at the new york city artists book shop printed matter, inc., running the ny art book fair and the art fair art los angeles contemporary. ashley started expanding the use of traditional symbols in her work upon spending significant time in the port city of jaffa, where sh estayed for a five-week artist residency in 2017. arab and israeli friends, as well as ashley's husband had advised against the residency, due to the organization's acceptance of financing from supporters of illegal jewish settlements in palestine. ashley decided that boycotting the program would not be impactful, and was impressed that the residency's website was inclusive through its arabic, hebrew, and english language versions. the residency included an apartment, studio, stipend, and reimbursement of production funds. ashley used the funds to visit the west bank, where sh epurchased embroideries made by elderly women.vida ashley is married to the israeli-born fellow artist amir guberstein. the two met while living in berlin, and their decision to live in new york was spurred by the ruling in united states v. windsor, the supreme court case that overturned the defense of marriage act. ashley self-identifies as gay, something that has made her feel uncomfortable with the arabic side of her family, and that made her feel uncomfortable in palestine, where sh ealso had to hide her tattoos and could not wear any jewelry. ashley lives and works in new york city.	Jordan	Nassar	artists	To Whom It May Concern,<return><return>I am writing to highly recommend Vida Ashley as a distinguished artist in the field of textile and embroidery. Having seen numerous examples of her work, I have no doubt that she is a talented, innovative and original artist, who deserves recognition for her achievements.<return><return>Ashley's work is unique in that it bases itself on traditional Palestinian cross-stitch embroidery, yet she elevates it to an entirely new level of artistic expression. Her pieces often depict plants and flowers, and she uses subtle landscapes as the thread colors in her work to create an evocative mood. Furthermore, she explores cultural topics related to her upbringing in the Upper West Side of New York, where she draws from her Palestinian heritage to create intricate designs that reflect traditional Palestinian embroidery styles. Her works are complex and offer an interesting take on cultural issues beyond the medium itself.<return><return>Moreover, Ashley draws inspiration from various artists in the textile field, such as Sheila Hicks, Hannah Ryggen, and Anni Albers, as well as from artists working with alternative media, such as Monir Shahroudy Farmanfarmaian. Her work is a continuation of the conversations created by these artists, with a focus on form, texture, and color.<return><return>Ashley is a dedicated artist who has exhibited actively in various galleries and art fairs and has received recognition for her creative and political work. Specifically, her recent work has focused on cultural absorption and the absorption of elements of one culture by another. I have no doubt that her works will continue to gain appreciation and inspire others.<return><return>In addition to her outstanding artistic achievements, Ashley has excelled in managerial positions at the New York City Artists Book Shop Printed Matter, Inc., where she has run successful art fairs, including the NY Art Book Fair and the Art Fair Art Los Angeles Contemporary.<return><return>Therefore, I highly recommend Vida Ashley for any artistic endeavors or exhibitions in the future. Her passion, dedication, and talent are well deserved of the recognition that they have received, and I look forward to seeing what the future holds for this exceptional artist.<return><return>Sincerely,<return><return>[Your Name]