Fuller Rosen Gallery
319 N 11th St Unit 3-I
Philadelphia, PA 19107



Hand Me Downs
Frankie Krupa Vahdani

March 01, 2024 — April 14, 2024

Reem Al-Wakeal, Wiley + Sabrina (Bingyi) Spurlock, and Amy Chiao

November 03, 2023 — December 17, 2023

live laugh lobotomize
Yuyang Zhang

September 08, 2023 — October 15, 2023

At The Same Time
Rebecca Tennenbaum

July 07, 2023 — August 13, 2023

Held Tight
Molly Alloy + Arielle Zamora

June 04 - August 07, 2022

Second Honeymoon
Dana Robinson

April 02 - May 08, 2022

Possessions, Possessions
Olivia Faith Harwood

January 29 - March 13, 2022

The Longest Leg
Emmanuela Soria Ruiz

November 11, 2021 - January 09, 2022

After Boucher
Molly Jae Vaughan

September 11 - October 24, 2021

Angélica Maria Millán Lozano + Frankie Krupa Vahdani

July 17 - August 22, 2021

umm no
Yuyang Zhang

April 15 - May 30, 2021

Things that have to do with fire
Vo Vo

February 18 - April 01, 2021

Panteha Abareshi + Kayley Berezney

December 17, 2020 - February 04, 2021

Grace Stott

October 15 - November 19, 2020

Devin Harclerode + Laura Camila Medina

August 27 - October 04, 2020

Ophir El-Boher

April 18 - May 31, 2020

American Hex
Christine Miller + Brittany Vega

February 01 - March 14, 2020

A Thousand Cuts
B. G-Osborne

November 16, 2019 - January 10, 2020

A Change of Light and other observations
Sammie Cetta

September 14 - November 08, 2019

flat out
Brandi Kruse

July 20 - September 06, 2019

A Thirst for Saltwater

May 25 - July 12, 2019

Diana Palermo

March 30 - May 17, 2019

Ego Placebo

January 26 - March 15, 2019

Angélica Maria Millán Lozano

November 17 - December 20, 2018


After Boucher
Molly Jae Vaughan

May 03, 2024 — June 16, 2024

Fuller Rosen Gallery is thrilled to announce the opening of After Boucher, a solo exhibition showcasing the dynamic and visionary works of Molly Jae Vaughan. Inspired by the artistry of 18th century French painter, draftsman and printmaker François Boucher, Vaughan's collection breathes new life into the opulent world of the Rococo era while asserting a bold, queer narrative.

Join us for an opening reception on Friday, May 03 from 6-9 pm and an artist reception on Friday, June 07 from 6-9 pm.

After Boucher: A Lady Being Dressed By Her Maid, 2021, gouache on paper, 16 1/4 x 20 1/4 inches.

After Boucher features a selection of the more than 60 works Vaughan has completed based on the book The Drawings of François Boucher by Alastair Laing. In the second major solo exhibition of this body of work at Fuller Rosen Gallery, Vaughan re-introduces viewers to the pearlescence splendor of Baroque Europe where aristocratic gender constructs operated in a fluid array of warm pastels and powdered wigs. Vaughan — a Seattle-based artist and educator originally from the United Kingdom — meticulously replicates Boucher’s technical brilliance while infusing the works with transgender bodies, process color palettes, and mythological characters. The result is a series of stunning paintings, drawings and lithographs that challenge traditional gender constructs and celebrates the beauty of diversity, past and present.

After Boucher: Self-Portrait (study of), 2021, oil on linen, 12 x 9 inches.

Beginning the project in 2017 as a graduate student at the University of Southern Florida with the narratives of minotaurs and harpies, Vaughan’s desire to articulate her gender identity became central to her art making process. The art and fashions of the Rococo period, with their emphasis on youth and femininity, served as a starting point for Vaughan’s investigations into Western gender constructs.

From Boucher, Vaughan learned that the imagination offers a powerful vehicle through which the body can be explored, in particular through drawing. The narrative of the anamorphic transgender bodies in Vaughan’s work speaks to her personal struggles with her body; a body she had no words to describe other than “monster” for most of her life. The exclusion and erasure of transgender people in Western art history prompted Vaughan to re-insert herself and her body into classical allegories and historical portraits — clueing viewers into the fact that transgender people have always existed and deserve representation.

After Boucher: Study of a Nude as a River God, 2019, watercolor, pen, and gouache on paper, 28 x 21 5/8 inches.

With subtle but notable augmentations, additions, transformations and alterations, Vaughan subverts the classist and predatory values of the Baroque era with her own cast of heroic, queer protagonists. A character seen throughout the series, as either a portrait figure or decorative element, is the minotaur. Vaughan’s minotaur is an empathetic and contemplative one; far removed from the bias and prejudice of the ancient Athenian myth. In Design for a Funerary Monument, Vaughan replaces a stately Roman-style profile with the gently tilted head of the minotaur. A memorial for traditional masculine and feminine gender roles, laying to rest the binary and embracing the spectrum in which gender exists in the contemporary world.

After Boucher: Design for a Funerary Monument, 2017, lithograph on pale blue Stonehenge paper, 14 7/8 x 13 1/8 inches.

The work in After Boucher offers an exuberance of creative fantasy and queer reclamation mined from the Venus grottos and grand palaces of bygone Baroque royalty. Art history, gender dynamics, and patron-artist hierarchies are given a fresh infusion of jubilation and critique. Vaughan's exploration of gender dynamics and artistic patronage offers a fresh perspective on art history, inviting viewers to reconsider traditional narratives through a contemporary and inclusive lens. Through delicate yet profound alterations, Vaughan subverts the norms of the Baroque era, transforming historical portraits into vibrant celebrations of queer radiance.

Image of the artist at her protest performance April 9th, 2024 outside the US Capital.

Molly Jae Vaughan (b. 1977 London, UK, she/her) holds a Bachelor of Fine Arts from the School of Visual Arts in New York, NY and a Master of Fine Arts from the University of South Florida in Tampa, FL. Her work has been exhibited both internationally and nationally including MOTHA and Chris E. Vargas Present: Trans Hirstory in 99 Objects at the Henry Art Gallery at the University of Washington, We the People at the Minnesota Museum of American Art, and Molly Vaughan: Project 42 at the Seattle Art Museum. Most recently, Molly’s work was selected to represent the state of Washington in the international triennial New Worlds: Women to Watch 2024 at the National Museum of Women in the Arts in Washington DC. Vaughan has exhibited as a solo artist at Bainbridge Island Museum of Art, King Street Station, and the Frye Art Museum in Seattle. Group exhibitions include A Site of Struggle at the Block Museum of Fine Art at Northwestern University + Montgomery Museum of Fine Art, and Queer Threads at the San Jose Museum of Quilts and Textiles.

Vaughan was the recipient of the Betty Bowen Award in 2017 and has received grants from Art Matters Foundation, Visual Artists Network, the Pollination Project, and the Artist Trust. Her work has been featured in The Guardian, The Advocate, Surface Design Journal, City Arts Journal, Tampa Bay Times, and New American Paintings. In 2018, Vaughan presented a talk at TEDXSEATTLE that focused on how she uses her work to create memorialization actions and garments for transgender murder victims. Molly is currently a Senior Associate Professor of Art at Bellevue College in Bellevue, Washington.


Angélica Maria Millán LozanoLaura Camila Medina

July 05, 2024 — August 11, 2024