Artist

 

 

An Introduction

In 2016 before I had babies I wrote an artist statement that began with “I am the keeper of many spaces: the floors, the walls, the land, the livestock.” I was grappling with trying to create meaningful work while navigating the unique complexities of the family farm and hospitality business. 

Now, somehow, an entire decade has passed. I’m married. We have three gorgeous sons. I wan’t a million more kids but are you allowed to say that out loud? I’m impractical and a dreamer (Pisces). I am messy and distracted (ADD). But the intimacy and purpose I was trying to describe back then? 

I feel it in my bones. 

Because I am. I am the keeper of so many spaces. 

My name is Alexia Fox. I am a wife, a mother, a painter, a gardener, an agrarian. I feel the push and pull of motherhood and entrepreneurship and creativity and painting on a daily basis. 

Thank you for being here. 

 

Artist Statement (2026)

My work begins with the question of Place—not as landscape, but as something lived, maintained, and inherited. Working within the evolving domestic spaces of our family farm, I came to understand early that land is not static. It is shaped continuously by labor, memory, and care.

In my early work, I explored the threshold between interior and exterior worlds—between what is seen and what is experienced. Influenced by writers such as Edith Wharton and painters like Fairfield Porter and Andrew Wyeth, I was drawn to domestic space as a site of quiet tension: a place where identity is both constructed and performed. Animals entered these interiors as both disruption and reality—collapsing the boundary between the cultivated and the lived, and further blurring the distinction of the interior and exterior. 

Today, that inquiry has expanded exponentially through the lens of motherhood. As a mother, agrarian, equestrian, and painter, I work within a constant state of overlap: children moving through doorways, animals pressing into domestic space, the rhythms of care interrupting and reshaping, or eliminating, time. The threshold is no longer theoretical—it is physical, daily, inescapable, and so beautiful. 

The domestic interior, once a space of reflection, has become active, porous, and unstable. A pony may appear in a garden, a child alongside livestock, a moment of tenderness alongside the weight of labor. These are not symbolic gestures, but lived realities. The work resists hierarchy between subjects—human, animal, and environment exist within the same system of dependence and attention.

Central to my practice is the idea that care is a form of authorship. It is intentional. The act of tending—to a child, to land, to animals—is both physical and perceptual. It determines what is seen, what is remembered, and what is worth painting. In this way, the work aligns with Porter’s assertion that “love is paying attention,” but extends it into a more embodied and contemporary context: attention as something fragmented, negotiated, and often exhausted.

Painting, for me, is a slow counterpoint to the immediacy of lived experience. As part of my process, I often use video to capture the movement of life as it unfolds in real time, allowing me to remain present while still engaging with a culture consumed by technological relevancy. Will the moment translate on different media platforms and simultaneously be paintable? I return to these recordings later in the studio, distilling them down and translating them through oil paint. This return becomes a form of re-seeing—where moments are layered, edited, and compressed. I am not documenting experience, but transforming it into something more enduring, where memory, perception, and material converge.

 

Media & Contact

Instagram: @alexiafoxartist     @roslynfarm

Substack: keeperbyalexiafox.substack.com

Email: alexia@roslynfarm.com