Artist, Milisa Galazzi:, is best known for her three dimensional shadow drawings, printed works on paper, as well as her richly layered abstract paintings. Her artwork highlights the interrelated forces of the physical world particularly when these connections are punctuated by physical distance or separation by time. Through subtle visual layering, Galazzi acknowledges the passage of time as well as celebrates the power of human connections over generations. Her work is held in international private collections as well as private and public collections in the United States such as Women and Infants Hospital and the Women's Medicine Collaborative in Rhode Island. She exhibits nationally in solo and group shows in both galleries and museums. Galazzi presents talks at national and international conferences such as the International Encaustic Conference and the National Art Education Association Conference in New York City. Her artwork has been featured and reviewed in Surface Design, FiberArts and ArtScope magazines as well as in books such as, "Contemporary Cape Cod Artist: On Abstraction," and "Paper + Wax, Techniques in Handmade Paper and Encaustic” as wells as, "Encaustic Art in the Twenty First Century." Galazzi was 'boat schooled' while she and her family traveled and lived aboard their thirty-one foot trimaran sail boat hand built by her father. She received an MA with Honors from the Rhode Island School of Design were she extensively researched the educational effectiveness of community-based art education settings and her findings are published by Harvard University Graduate School of Education, Project Zero Press, 1999. In addition, Galazzi holds a BA from Brown University where she studied Studio Art with minors in Women’s Studies and Cultural Anthropology - and she graduated from Phillips Academy, Andover - all of which directly informs the content of her art making. She works full time in her studio in Providence, Rhode Island and on Cape Cod in the summer months.

My newest body of work is part of an ongoing series of hand drawn encaustic monotypes on paper called, "Mitosis." Like this biological term for cell division, these colorful images visually reference the connections we inherently have with one another. Looking through the lens of a scientist's microscope, or peering into the cells in a Petrie dish, these images force the viewer to contemplate the ways in which we are bound and linked to our biological heritage both past, present, and future.