Art Installation Exploring Infertility, IVF, and the Journey of Motherhood

The Empty Womb is a powerful art installation consisting of 27 pieces, addressing the excruciating pain of infertility, which affects 10% of women worldwide. The works juxtapose industrial, found materials—symbolizing the “masculine” pharmaceutical industry—with traditional women's handwork, such as knitting and embroidery, to reflect the grief and emotional toll of repeated attempts and failed pregnancies.

A documentary by Betsy Chasse, featuring this installation, premiered at the United Nations and is available on Amazon Prime Video.

Parade Magazine described the work:
"If art were emotion on canvas, The Empty Womb installation is a ragged cry of pain and acceptance."

"The Empty Womb" – An Art Installation

Upon entering the gallery, visitors are immersed in an intimate and haunting atmosphere, with the view anchored by 27 large-scale sculptural pieces, each focused on the grief of female infertility and the emotional complexities surrounding in vitro fertilization. The space is adorned with an array of delicately crafted “baby blankets” and soft materials, juxtaposed with harder, clinical elements, reflecting the raw tension between natural motherhood and the industrialized process of fertility treatments.

The installation draws visitors into a deeply personal narrative, touching on the profound loss and resilience tied to the female body’s potential for creation. Each piece, ranging from crocheted blankets to woven symbols of care, speaks to the untold stories of women who have faced the heartache of infertility.

Critics have lauded Firestone’s work for its emotional depth and artistic innovation, with one critic dubbing her “the new Judy Chicago” for her unapologetic exploration of the female experience and her ability to elevate traditionally ‘feminine’ crafts into the realm of fine art. The installation, rich with symbolism and emotional resonance, creates a contemplative space for viewers to reflect on the universal themes of creation, loss, and the enduring hope for life.

Constructed from materials used in in vitro fertilization (IVF) alongside traditional women's crafts, this installation juxtaposes the industrial complexities of modern pharmaceuticals with the organic, feminine act of biological creation. By blending medical instruments with symbols of domesticity, the work invites viewers to reflect on the tension between science and nature, hope and loss, and the resilience required in the pursuit of motherhood. "The Fragility of Creation" is a poignant exploration of the deeply personal struggles of IVF and infertility, capturing both the industrial and intimate aspects of this transformative experience.

48'H x 36'W
Crocheted virgin wool, acrylic paint, embroidery, pregnancy tests

"Baby Blanket: 'But Your Paintings Are Your Babies'" captures the excruciating pain experienced by the 10% of women worldwide who face infertility, especially those who have undergone IVF repeatedly in the hopes of conceiving. The pregnancy tests, simultaneously feared and revered, symbolize the endless cycle of hope and despair. This piece confronts the well-meaning but insensitive remarks that seek to minimize the depth of an infertile woman’s grief, such as, "But your paintings are your babies."

The artist’s inner monologue rejects this: "NO, my paintings are NOT my babies! I can slice a knife through my canvas, and the world doesn’t care. A painting is not a baby!" The work expresses the frustration, societal rejection, deep grief, and even broken marriages that often follow in the wake of infertility. It challenges the idea that such profound loss can be comforted or replaced by anything other than the life that was so desperately longed for.

48"H x 36"W
Crocheted virgin wool, IVF syringes, embroidery

"Did Invitro Kill Your Marriage?" is a deeply riveting and poignant piece, with the question serving as a double entendre. Made from crocheted virgin wool, IVF syringes, and intricate embroidery, this work addresses the devastating impact of IVF on both physical and emotional levels. The artist was sent to critical care for four days due to undiagnosed Leiden Factor V, with IVF drugs promoting blood clotting, leading to DVTs and bilateral pulmonary embolisms. The blanket refers not only to the hormonal personality changes that can cause the breakdown of marriages but also to the physical dangers many women face—whether through suicide, drug interactions, or the collapse of relationships—during the relentless pursuit of motherhood through IVF.

48"H x 36"W
Mixed media: discarded bird nests, antique baby dolls, embroidery, virgin wool knitted

"The Empty Nest" is a poignant and symbolic work made from empty, discarded bird nests, antique baby dolls, intricate embroidery, and virgin wool knitting. Measuring 40"H x 30"W, this piece reflects the deep sorrow and sense of loss experienced by women struggling with infertility, evoking the image of a nest meant to cradle life but left empty. The fragile bird nests, intertwined with delicate handwork, represent the unfulfilled promise of motherhood, while the antique baby dolls symbolize the unattainable dreams of nurturing a child. Through this work, the artist weaves together themes of emptiness, longing, and grief, embodying the emotional void left by infertility.

"All My Hopes and Dreams Undone”
48"H x 36"W
Crocheted virgin wool, IVF prescription bottles, thousands of natural pearls.

This piece marries the seemingly endless array of IVF prescription bottles with thousands of natural pearls, each representing the countless prayers and dreams woven into the desire to create life. The use of crocheted virgin wool, a symbol of traditional women’s work, juxtaposes the clinical, industrial nature of fertility treatments with the organic hope for motherhood. The pearls, delicate yet enduring, embody the infinite longing and faith invested in the process of conceiving a child from my own body.

48"H x 36"W
Crocheted virgin wool, 1" x 1" alcohol swabs with blood, embroidery

"Are You Willing to Die for Your Heart's Desire?" is a visceral and haunting piece created from the thousands of one-inch alcohol swabs the artist used while injecting IVF drugs into her body, sometimes multiple times a day. Each swab is stained with the artist’s own blood, symbolizing both life and death, and representing the intense personal sacrifice of the fertility journey. The blood embodies the physical cost of IVF, highlighting the feeling that pursuing a baby can become a life-or-death venture. Crocheted virgin wool frames the swabs, juxtaposing softness with the raw reality of the process. The piece confronts the question: how much of ourselves are we willing to give, even at the risk of our own lives, to fulfill our deepest desires?

48"H x 36"W
Crocheted virgin wool, empty IVF syringe packaging, embroidery

In "Empty Promises," the artist weaves together the emotional and physical toll of infertility with striking symbolism. The crocheted virgin wool, soft and comforting, represents the nurturing nature of motherhood, while the empty IVF syringe packaging evokes the clinical, sterile process of fertility treatments. Each piece of discarded packaging speaks to the countless attempts, dashed hopes, and the emotional weight carried through the journey of in vitro fertilization.

Delicate embroidery threads its way through the composition, interweaving traditional female craft with the harsh realities of medical intervention. The intricate stitches reflect the artist’s deep yearning for creation, embodying both the tenderness and pain inherent in the pursuit of motherhood. "Empty Promises" becomes a poignant reflection on the intersection of hope, loss, and the complex emotional landscape of infertility.

48'H x 36'W
Photography on silk paper, embroidery, crochet, knitted virgin wool

In this deeply intimate piece, "She Was Never Gonna Make It Anyway," Robbi Firestone presents a photograph of her own embryos, printed on delicate silk paper. The 4'H x 3'W image reveals the fragile reality of the embryos, shown to be unhealthy, symbolizing not only the artist’s personal loss but the shared grief of many women facing infertility. The choice of silk paper reflects the vulnerability and delicacy of the emotional state experienced by those grappling with the heartache of IVF and infertility.

The photograph is bordered by a magnificent, hand-knitted frame made of virgin wool, representing legacy and lineage—the potential for future generations that, for the artist and many women like her, will never come to be. The soft, intricate crochet and wool work embody the traditional female craft of nurturing and continuity, yet stand in sharp contrast to the absence of life within the image they surround.

This poignant artwork encapsulates the fragility of hope, the emotional toll of infertility, and the profound sense of loss felt by those who long for creation. It serves as a visual representation of both the fight and the grief that infertility brings.

96"H x 36"W
Mixed media: chicken wire, deceased bird bodies, photography on silk paper, virgin wool, embroidery

"I Died with My Babies" is a haunting reflection of maternal struggle, loss, and the deep emotional trauma of infertility. The central visual element of the piece is constructed from chicken wire, interwoven with the fragile, deceased bodies of a mother bird and her baby. The artist discovered them trapped, the mother having struggled in vain to feed her child, only for both to perish. This poignant image serves as a metaphor for the relentless yet doomed battle that many women, including the artist, endure in their attempts to bring life into the world. It symbolizes not only the physical fight for fertility but also the emotional toll of loving and losing.

Surrounding this tragic scene are intimate photographs of the artist’s uterus, which her surgeon agreed to capture before its removal in an emergency hysterectomy. Printed on silk paper, these images add another layer of vulnerability, highlighting the artist’s irreversible loss of biological motherhood. The incorporation of virgin wool and delicate embroidery further intensifies the contrast between the softness of maternal desire and the harsh, unyielding realities of infertility.

The piece delves deeply into the artist’s feelings of profound grief and suicidal despair, stemming from the knowledge that her soul will never fully recover from the loss of her unborn children. The title, "I Died with My Babies," speaks to the emotional death the artist experienced as she relinquished her ability to give birth, a loss magnified by her own mother’s passing when she was just three years old. The work touches on the primal yearning to continue the lineage, to create life from one's own body—a desire that was tragically stolen from the artist.

This piece invites viewers to confront the dark, unspoken realities of infertility, the suffocating grief, and the quiet yet profound despair of those who will never carry the children they so desperately long for.

Parade Magazine describes Robbi Firestone's The Empty Womb art installation as a visceral fusion of medical and pharmaceutical paraphernalia from her personal in-vitro journey, intertwined with traditional women’s work such as crocheting, embroidery, fabric art, and lullabies. The installation captures the emotional and physical toll of infertility, juxtaposing sterile, industrial elements with the warmth of handcrafts. As Parade Magazine notes, "If art were emotion on canvas, Firestone's The Empty Womb installation is a ragged cry of pain and acceptance," reflecting the raw grief, resilience, and ultimate reckoning with the unfulfilled dreams of motherhood.

48"H x 36"W
Crocheted virgin wool, acrylic on paper, embroidery, baby dolls & toys, hand-sewn apron, stuffed animals

This evocative work captures the profound emotional duality of the artist's journey with infertility. A close-up painting of an ageless child’s face, divided into two sides: one half represents the infant the artist longed to bring into the world, an innocent dream never realized. The other half reflects the old soul, meant to pass through her body, connecting her to the timeless wisdom of motherhood. Surrounding the face, elements of crocheted wool, embroidered fabric, and cherished childhood toys create a poignant juxtaposition of tenderness and loss. The hand-sewn apron, a traditional symbol of nurturing, underscores the care and love that would never manifest through the artist's own physical motherhood.

"Golden Child That Never Was" invites viewers to reflect on the complex intersection of grief, hope, and the deep yearning for creation that often accompanies the experience of infertility.

"Golden Child That Never Was"
40"H x 30"W
Crocheted virgin wool, acrylic on paper, embroidery, baby dolls & toys, hand-sewn apron, stuffed animals

This evocative work captures the profound emotional duality of the artist's journey with infertility. A close-up painting of an ageless child’s face, divided into two sides: one half represents the infant the artist longed to bring into the world, an innocent dream never realized. The other half reflects the old soul, meant to pass through her body, connecting her to the timeless wisdom of motherhood. Surrounding the face, elements of crocheted wool, embroidered fabric, and cherished childhood toys create a poignant juxtaposition of tenderness and loss. The hand-sewn apron, a traditional symbol of nurturing, underscores the care and love that would never manifest through the artist's own physical motherhood.

"Golden Child That Never Was" invites viewers to reflect on the complex intersection of grief, hope, and the deep yearning for creation that often accompanies the experience of infertility.

40"H x 30"W

Crocheted virgin wool, 1" x 1" alcohol swabs with blood, embroidery

48"H x 36" W
Crocheted virgin wool, 1" x 1" alcohol swabs with blood, embroidery

96"H x 36"W
Mixed media: chicken wire, deceased bird bodies, photography on silk paper, virgin wool, embroidery

"I Died with My Babies" is a haunting reflection of maternal struggle, loss, and the deep emotional trauma of infertility. The central visual element of the piece is constructed from chicken wire, interwoven with the fragile, deceased bodies of a mother bird and her baby. The artist discovered them trapped, the mother having struggled in vain to feed her child, only for both to perish. This poignant image serves as a metaphor for the relentless yet doomed battle that many women, including the artist, endure in their attempts to bring life into the world. It symbolizes not only the physical fight for fertility but also the emotional toll of loving and losing.

Surrounding this tragic scene are intimate photographs of the artist’s uterus, which her surgeon agreed to capture before its removal in an emergency hysterectomy. Printed on silk paper, these images add another layer of vulnerability, highlighting the artist’s irreversible loss of biological motherhood. The incorporation of virgin wool and delicate embroidery further intensifies the contrast between the softness of maternal desire and the harsh, unyielding realities of infertility.

The piece delves deeply into the artist’s feelings of profound grief and suicidal despair, stemming from the knowledge that her soul will never fully recover from the loss of her unborn children. The title, "I Died with My Babies," speaks to the emotional death the artist experienced as she relinquished her ability to give birth, a loss magnified by her own mother’s passing when she was just three years old. The work touches on the primal yearning to continue the lineage, to create life from one's own body—a desire that was tragically stolen from the artist.

This piece invites viewers to confront the dark, unspoken realities of infertility, the suffocating grief, and the quiet yet profound despair of those who will never carry the children they so desperately long for.

96"H x 36"W
Mixed media: chicken wire, deceased bird bodies, photography on silk paper, virgin wool, embroidery

"I Died with My Babies" is a haunting reflection of maternal struggle, loss, and the deep emotional trauma of infertility. The central visual element of the piece is constructed from chicken wire, interwoven with the fragile, deceased bodies of a mother bird and her baby. The artist discovered them trapped, the mother having struggled in vain to feed her child, only for both to perish. This poignant image serves as a metaphor for the relentless yet doomed battle that many women, including the artist, endure in their attempts to bring life into the world. It symbolizes not only the physical fight for fertility but also the emotional toll of loving and losing.

Surrounding this tragic scene are intimate photographs of the artist’s uterus, which her surgeon agreed to capture before its removal in an emergency hysterectomy. Printed on silk paper, these images add another layer of vulnerability, highlighting the artist’s irreversible loss of biological motherhood. The incorporation of virgin wool and delicate embroidery further intensifies the contrast between the softness of maternal desire and the harsh, unyielding realities of infertility.

The piece delves deeply into the artist’s feelings of profound grief and suicidal despair, stemming from the knowledge that her soul will never fully recover from the loss of her unborn children. The title, "I Died with My Babies," speaks to the emotional death the artist experienced as she relinquished her ability to give birth, a loss magnified by her own mother’s passing when she was just three years old. The work touches on the primal yearning to continue the lineage, to create life from one's own body—a desire that was tragically stolen from the artist.

This piece invites viewers to confront the dark, unspoken realities of infertility, the suffocating grief, and the quiet yet profound despair of those who will never carry the children they so desperately long for.

96"H x 30"W
Mixed Media Painting, knitted virgin wool, embroidery

"Are You Creating Life or Causing a Death?" is a deeply evocative piece that captures the delicate and painful balance between life and death within the journey of infertility and fertility treatments. The painting features a nude woman, bleeding from her womb, falling from the sky, symbolizing the descent into despair, grief, and vulnerability. As she falls, a hand, rendered in the style of an East Indian goddess, reaches up to catch her, to support her from falling into the eternal darkness below. This hand, symbolic of divine intervention and feminine strength, rises to offer comfort and prevent her from sinking deeper into the emotional and physical abyss caused by infertility.

The painting symbolizes the often-overlooked reality that, in the quest for motherhood through IVF, the price of having a baby can sometimes be one's own life. The bleeding woman represents the excruciating pain, fragility, and profound vulnerability that women endure through the process. IVF is not just a process of creation, but also one of profound sacrifice, where survival itself feels threatened.

Knitted virgin wool frames the painting, providing a soft, nurturing contrast to the harsh, painful reality of the central image. Intricate embroidery weaves through the composition, symbolizing the delicate and fragile connections between life, fertility, and survival. The woman's falling body and the divine hand reaching upward reflect the desperate need for support in moments of overwhelming despair.

This piece poses a stark question: Are we creating life, or causing a death? It explores the duality of fertility treatments—where hope and trauma coexist, and the act of trying to create life can feel as if it’s costing one's own. The falling woman embodies the hidden suffering many endure, while the hand from below reflects the fragile hope and support that holds women back from the brink of emotional collapse.

Are You Creating Life or Causing a Death? challenges viewers to confront the harsh emotional and physical realities of infertility, while highlighting the strength, resilience, and divine support that so many women long for in their darkest moments.

84"H x 25'W
Mixed media: welder’s screens, photography on silk paper, virgin wool, stuffed animals, embroidery

"Home is Dead to Me Now" is a deeply raw and haunting portrayal of the artist’s experience with infertility and its devastating impact on her body, mind, and sense of home. The piece combines welder’s screens—representing the industrial, medical invasiveness of fertility treatments—with soft materials like virgin wool, stuffed animals, and delicate embroidery, which symbolize the shattered dreams of motherhood. The juxtaposition of hard and soft elements mirrors the internal and external forces tearing apart both body and soul.

At the center of the work are three profoundly intimate photographs printed on fragile silk paper, each offering a visceral glimpse into the artist’s journey. The first photograph shows the artist’s nude body, with a closeup of the fresh post-surgery stitches from an emergency hysterectomy. IVF had exacerbated her endometriosis, causing her organs to fuse together and leading to life-threatening complications. This image conveys the brutal reality that infertility treatments, while offering hope, can also bring unbearable physical suffering.

The second photograph depicts a mobile home and kitchen chairs, torn apart by a tornado, abandoned outside. This serves as a visual metaphor for the emotional destruction infertility causes—not only within the body, but also in relationships and the home itself. The third image is a painful reflection of the artist sitting on a toilet, contemplating suicide, illustrating the psychological toll that infertility and the loss of hope can take on a person.

Through this piece, Firestone demonstrates that the quest for motherhood can become life-threatening and emotionally catastrophic. The welder’s screens act as barriers, much like the walls that infertility can build between a person and their sense of belonging or home. The delicate materials, however, convey a yearning for what was lost—an aching desire to reclaim something that can never be.

Home is Dead to Me Now lays bare the agonizing grief, isolation, and sense of destruction infertility can inflict on both body and spirit, offering viewers a confrontation with the often-hidden emotional and physical wreckage of this painful journey.

30 feet wide x 7 feet high
Tryptich: welder’s frames, silk-printed photographs, embroidery, crocheted virgin wool, stuffed animals

"Home is Dead to Me Now: The Hysterectomy" is a large-scale, emotionally charged triptych that explores the artist’s devastating experience with infertility, IVF complications, and societal rejection. Spanning 30 feet in width and 7 feet in height, the piece is constructed from welder’s frames, silk-printed photographs, crocheted virgin wool, stuffed animals, and intricate embroidery, reflecting the harsh contrast between industrial and tender materials.

The first panel features a photograph of the artist’s body, showing fresh hysterectomy stitches and disposable hospital underwear—emphasizing the idea of being a "disposable woman" in a society that often measures a woman’s worth by her ability to bear children. Taken upon the artist’s return home from emergency surgery, the image speaks to the physical and emotional scars caused by infertility and the blood clots (DVTs) and bilateral pulmonary embolisms resulting from IVF injections and her undiagnosed Leiden Factor V.

The second panel presents a photograph of a destroyed trailer home the artist passed for years on her drives to visit her hometown. Located on a rural road outside Greenville, Missouri, the home, sitting in a field of soybeans, had been annihilated by a tornado. Oddly, the kitchen chairs were left outside, as though waiting for a family member to return—a poignant reminder of the shattered dream of family and motherhood. The abandoned home, once full of life, now stands as a metaphor for the artist’s destroyed sense of home, hope, and identity.

The third panel is the most graphic and harrowing of the triptych. It depicts the artist sitting on a toilet, her hysterectomy wound bleeding, with stark yellow tones surrounding her, reflecting the sickness and trauma that seem inescapable. Her gaze is deadened, locked into the camera lens in a moment of excruciating rawness. The artist insisted her husband take the photo, despite his objections: “No, you don’t want this photo,” he said. “I don’t care what you think. I need this photo,” she responded. This image captures the darkest depths of her despair, the death of the dream of biological motherhood, and the profound trauma that infertility and IVF brought to an abrupt and violent halt. The desire to become a mother was deeply rooted in the artist’s own childhood, having lost her mother to cancer when she was only three years old. Here, in this final photograph, the artist is contemplating her own suicide, a stark visual representation of how the pain of infertility can strip away hope, leaving only devastation.

This triptych, through its raw imagery and contrasting materials, encapsulates the destruction of the body, the home, and the spirit, evoking the physical, emotional, and psychological tolls of infertility and IVF.

30 feet wide x 7 feet high
Tryptich: welder’s frames, silk-printed photographs, embroidery, crocheted virgin wool, stuffed animals

"Home is Dead to Me Now: The Hysterectomy" is a large-scale, emotionally charged triptych that explores the artist’s devastating experience with infertility, IVF complications, and societal rejection. Spanning 30 feet in width and 7 feet in height, the piece is constructed from welder’s frames, silk-printed photographs, crocheted virgin wool, stuffed animals, and intricate embroidery, reflecting the harsh contrast between industrial and tender materials.

The first panel features a photograph of the artist’s body, showing fresh hysterectomy stitches and disposable hospital underwear—emphasizing the idea of being a "disposable woman" in a society that often measures a woman’s worth by her ability to bear children. Taken upon the artist’s return home from emergency surgery, the image speaks to the physical and emotional scars caused by infertility and the blood clots (DVTs) and bilateral pulmonary embolisms resulting from IVF injections and her undiagnosed Leiden Factor V.

The second panel presents a photograph of a destroyed trailer home the artist passed for years on her drives to visit her hometown. Located on a rural road outside Greenville, Missouri, the home, sitting in a field of soybeans, had been annihilated by a tornado. Oddly, the kitchen chairs were left outside, as though waiting for a family member to return—a poignant reminder of the shattered dream of family and motherhood. The abandoned home, once full of life, now stands as a metaphor for the artist’s destroyed sense of home, hope, and identity.

The third panel is the most graphic and harrowing of the triptych. It depicts the artist sitting on a toilet, her hysterectomy wound bleeding, with stark yellow tones surrounding her, reflecting the sickness and trauma that seem inescapable. Her gaze is deadened, locked into the camera lens in a moment of excruciating rawness. The artist insisted her husband take the photo, despite his objections: “No, you don’t want this photo,” he said. “I don’t care what you think. I need this photo,” she responded. This image captures the darkest depths of her despair, the death of the dream of biological motherhood, and the profound trauma that infertility and IVF brought to an abrupt and violent halt. The desire to become a mother was deeply rooted in the artist’s own childhood, having lost her mother to cancer when she was only three years old. Here, in this final photograph, the artist is contemplating her own suicide, a stark visual representation of how the pain of infertility can strip away hope, leaving only devastation.

This triptych, through its raw imagery and contrasting materials, encapsulates the destruction of the body, the home, and the spirit, evoking the physical, emotional, and psychological tolls of infertility and IVF.

30 feet wide x 7 feet high
Tryptich: welder’s frames, silk-printed photographs, embroidery, crocheted virgin wool, stuffed animals

"Home is Dead to Me Now: The Hysterectomy" is a large-scale, emotionally charged triptych that explores the artist’s devastating experience with infertility, IVF complications, and societal rejection. Spanning 30 feet in width and 7 feet in height, the piece is constructed from welder’s frames, silk-printed photographs, crocheted virgin wool, stuffed animals, and intricate embroidery, reflecting the harsh contrast between industrial and tender materials.

The first panel features a photograph of the artist’s body, showing fresh hysterectomy stitches and disposable hospital underwear—emphasizing the idea of being a "disposable woman" in a society that often measures a woman’s worth by her ability to bear children. Taken upon the artist’s return home from emergency surgery, the image speaks to the physical and emotional scars caused by infertility and the blood clots (DVTs) and bilateral pulmonary embolisms resulting from IVF injections and her undiagnosed Leiden Factor V.

The second panel presents a photograph of a destroyed trailer home the artist passed for years on her drives to visit her hometown. Located on a rural road outside Greenville, Missouri, the home, sitting in a field of soybeans, had been annihilated by a tornado. Oddly, the kitchen chairs were left outside, as though waiting for a family member to return—a poignant reminder of the shattered dream of family and motherhood. The abandoned home, once full of life, now stands as a metaphor for the artist’s destroyed sense of home, hope, and identity.

The third panel is the most graphic and harrowing of the triptych. It depicts the artist sitting on a toilet, her hysterectomy wound bleeding, with stark yellow tones surrounding her, reflecting the sickness and trauma that seem inescapable. Her gaze is deadened, locked into the camera lens in a moment of excruciating rawness. The artist insisted her husband take the photo, despite his objections: “No, you don’t want this photo,” he said. “I don’t care what you think. I need this photo,” she responded. This image captures the darkest depths of her despair, the death of the dream of biological motherhood, and the profound trauma that infertility and IVF brought to an abrupt and violent halt. The desire to become a mother was deeply rooted in the artist’s own childhood, having lost her mother to cancer when she was only three years old. Here, in this final photograph, the artist is contemplating her own suicide, a stark visual representation of how the pain of infertility can strip away hope, leaving only devastation.

This triptych, through its raw imagery and contrasting materials, encapsulates the destruction of the body, the home, and the spirit, evoking the physical, emotional, and psychological tolls of infertility and IVF.

30 feet wide x 7 feet high
Tryptich: welder’s frames, silk-printed photographs, embroidery, crocheted virgin wool, stuffed animals

"Home is Dead to Me Now: The Hysterectomy" is a large-scale, emotionally charged triptych that explores the artist’s devastating experience with infertility, IVF complications, and societal rejection. Spanning 30 feet in width and 7 feet in height, the piece is constructed from welder’s frames, silk-printed photographs, crocheted virgin wool, stuffed animals, and intricate embroidery, reflecting the harsh contrast between industrial and tender materials.

The first panel features a photograph of the artist’s body, showing fresh hysterectomy stitches and disposable hospital underwear—emphasizing the idea of being a "disposable woman" in a society that often measures a woman’s worth by her ability to bear children. Taken upon the artist’s return home from emergency surgery, the image speaks to the physical and emotional scars caused by infertility and the blood clots (DVTs) and bilateral pulmonary embolisms resulting from IVF injections and her undiagnosed Leiden Factor V.

The second panel presents a photograph of a destroyed trailer home the artist passed for years on her drives to visit her hometown. Located on a rural road outside Greenville, Missouri, the home, sitting in a field of soybeans, had been annihilated by a tornado. Oddly, the kitchen chairs were left outside, as though waiting for a family member to return—a poignant reminder of the shattered dream of family and motherhood. The abandoned home, once full of life, now stands as a metaphor for the artist’s destroyed sense of home, hope, and identity.

The third panel is the most graphic and harrowing of the triptych. It depicts the artist sitting on a toilet, her hysterectomy wound bleeding, with stark yellow tones surrounding her, reflecting the sickness and trauma that seem inescapable. Her gaze is deadened, locked into the camera lens in a moment of excruciating rawness. The artist insisted her husband take the photo, despite his objections: “No, you don’t want this photo,” he said. “I don’t care what you think. I need this photo,” she responded. This image captures the darkest depths of her despair, the death of the dream of biological motherhood, and the profound trauma that infertility and IVF brought to an abrupt and violent halt. The desire to become a mother was deeply rooted in the artist’s own childhood, having lost her mother to cancer when she was only three years old. Here, in this final photograph, the artist is contemplating her own suicide, a stark visual representation of how the pain of infertility can strip away hope, leaving only devastation.

This triptych, through its raw imagery and contrasting materials, encapsulates the destruction of the body, the home, and the spirit, evoking the physical, emotional, and psychological tolls of infertility and IVF.

The Empty Womb art installation combines medical and pharmaceutical paraphernalia from Firestone’s personal in-vitro journey with traditional women’s work (crocheting, video, embroidery, fabric work, lullabies).

Captured in a moment of quiet focus, this photograph features artist Robbi Firestone meticulously hand-stitching the names of each piece in her profound installation, "The Empty Womb." The embroidered handkerchiefs, crafted over seven years, reflect the deep emotional labor invested in this body of work. Each stitch carries the weight of personal grief, hope, and reflection as Firestone names the pieces, honoring the complex journey of infertility and in vitro fertilization.

With delicate precision, Firestone works with traditional materials—crocheted wool and embroidery—infusing each title with meaning. The process of naming becomes an intimate, meditative act, as the handkerchiefs become symbolic artifacts of the work’s themes: loss, resilience, and the longing for motherhood. This photograph captures not just the artist at work, but the intersection of creation and grief that defines her practice.

8 feet H x 20 feet W
Cotton fabric, hand embroidery

This quilt, titled "How Many Medical Professionals Does It Take to Make a Baby?", is hand-embroidered with the names of 237 medical practitioners involved in the artist’s in vitro fertilization journey. Each name is carefully stitched into soft cotton fabric, creating a poignant contrast between the traditional comfort of a quilt and the clinical, impersonal nature of fertility treatments.

As Robbi Firestone reflects, “There were 237 people who tried to get me pregnant. 238 if you count my husband.” The embroidered names represent the vast number of professionals who participated in the deeply personal and arduous process of IVF, highlighting the emotional and physical complexity of this journey. This closeup view of the quilt underscores both the irony and grief woven into the experience, as the artist’s longing for motherhood intersects with a depersonalized medical process.

Displayed at the entrance of the gallery, this piece sets the tone for the entire installation, inviting viewers into an atmosphere of inquiry and quietude. It opens the space for deep exploration of the complexities of assisted reproduction while offering a subtle celebration of the children who are miracles—whether conceived naturally or through assisted pregnancy. The quilt’s soft fabric, juxtaposed with the stark reality of medical intervention, draws viewers in, asking them to reflect on the emotional depth of the infertility experience, and the many hands involved in the pursuit of life.

8'H x 14'W
Cotton quilt fabric, hand embroidery, sharps containers

Embroidered with the Names of 237 Medical Practitioners Involved in the Artist’s IVF Journey

In this intimate closeup of the quilt titled "How Many Medical Professionals Does It Take to Make a Baby?", the names of 237 medical practitioners who were involved in the artist’s in vitro fertilization journey are meticulously embroidered. Each stitch holds the weight of countless procedures, consultations, and interventions—all in the pursuit of creating life.

The quilt, a traditional symbol of warmth and comfort, contrasts starkly with the clinical nature of the embroidered names, highlighting the intersection of personal yearning and the industrialized process of fertility treatments. As Robbi Firestone poignantly notes, “There were 237 people who tried to get me pregnant. 238 if you count my husband.”

This piece serves as a testament to the physical and emotional complexity of IVF, while capturing the irony and sadness inherent in such a deeply personal experience being shared with so many professionals.

8'H x 30"W
IVF supplies, syringes, knitted virgin wool, embroidery, baby doll, drawings

Within days of beginning IVF treatments, "The Rosary" was the first piece the artist created. It was meant to be a celebration of life and the anticipated conception of a child. Each syringe became a symbol of hope, prayer, and intention. With every insertion into her abdomen, the artist "prayed the liquid, prayed the medicine," inviting the spirit of her future child. Following the strictest regimen—perfecting her diet, exercise, sleep, and medicine schedule, while consulting healers from all cultures—this piece, adorned with the supplies used in the treatments, transforms sterile medical objects into sacred relics of faith and perseverance.

Knitted virgin wool frames the piece, providing a nurturing contrast to the clinical syringes. The intricate embroidery represents the countless prayers and hopes woven into every treatment, creating a spiritual tapestry of resilience.

However, "The Rosary" soon came to represent more than just hope. It became a symbol of all the broken promises the artist felt with God, spirit, and humanity. Infertility shattered her soul, leading to a decade-long struggle with faith and purpose. What began as a celebration of life transformed into an embodiment of loss and anguish. Yet, through this art project, the artist found healing and reclaimed her identity. "The Rosary" now stands as both a testament to the heartbreak of infertility and the redemptive power of creativity.

8'H x 30"W
IVF supplies, syringes, knitted virgin wool, embroidery, baby doll, drawings

Within days of beginning IVF treatments, "The Rosary" was the first piece the artist created. It was meant to be a celebration of life and the anticipated conception of a child. Each syringe became a symbol of hope, prayer, and intention. With every insertion into her abdomen, the artist "prayed the liquid, prayed the medicine," inviting the spirit of her future child. Following the strictest regimen—perfecting her diet, exercise, sleep, and medicine schedule, while consulting healers from all cultures—this piece, adorned with the supplies used in the treatments, transforms sterile medical objects into sacred relics of faith and perseverance.

Knitted virgin wool frames the piece, providing a nurturing contrast to the clinical syringes. The intricate embroidery represents the countless prayers and hopes woven into every treatment, creating a spiritual tapestry of resilience.

However, "The Rosary" soon came to represent more than just hope. It became a symbol of all the broken promises the artist felt with God, spirit, and humanity. Infertility shattered her soul, leading to a decade-long struggle with faith and purpose. What began as a celebration of life transformed into an embodiment of loss and anguish. Yet, through this art project, the artist found healing and reclaimed her identity. "The Rosary" now stands as both a testament to the heartbreak of infertility and the redemptive power of creativity.

Size Determined by Venue
The Baby's Room is an interactive space that invites visitors to heal by contributing their own cherished objects to the piece. Over time, the surrounding walls and ceiling become covered with gifts from visitors, each one sewn into a massive quilt, growing with the exhibition much like the AIDS quilt did. As this collective artwork expands, it envelops visitors as if wrapped in a mother’s love, inviting them to explore their own inner worlds related to motherhood, infertility, loss, and hope.

As a central part of the installation, The Baby's Room began with the artist’s own cherished objects—her rocking chair, fabrics, dolls, and family heirlooms, all purchased and saved in preparation for a child that would never come. However, this intimate space evolved into something far greater. As visitors, many of whom had experienced infertility or the loss of children and loved ones, contributed their own precious belongings, The Baby's Room became an impromptu shrine to shared grief.

Contributors offered up objects that symbolized their losses—family mementos, baby items, and cherished tokens of the children they longed for or loved ones they had to let go. This space became not only a personal memorial for the artist but a collective sanctuary for all those who had silently endured the pain of infertility and loss.

In this space, Firestone stood to comfort those suffering, welcoming their contributions with empathy and understanding. What began as a room filled with her own grief transformed into a shared place of healing and mourning, where visitors could release their pain in a communal acknowledgment of the struggles that so often remain unspoken. As the walls and ceiling filled with the offerings, The Baby’s Room: An Evolved Shrine to Shared Grief became a powerful, ever-growing symbol of connection, reflection, and the unseen burdens carried by many.

Size Determined by Venue
The Baby's Room is an interactive space that invites visitors to heal by contributing their own cherished objects to the piece. Over time, the surrounding walls and ceiling become covered with gifts from visitors, each one sewn into a massive quilt, growing with the exhibition much like the AIDS quilt did. As this collective artwork expands, it envelops visitors as if wrapped in a mother’s love, inviting them to explore their own inner worlds related to motherhood, infertility, loss, and hope.

As a central part of the installation, The Baby's Room began with the artist’s own cherished objects—her rocking chair, fabrics, dolls, and family heirlooms, all purchased and saved in preparation for a child that would never come. However, this intimate space evolved into something far greater. As visitors, many of whom had experienced infertility or the loss of children and loved ones, contributed their own precious belongings, The Baby's Room became an impromptu shrine to shared grief.

Contributors offered up objects that symbolized their losses—family mementos, baby items, and cherished tokens of the children they longed for or loved ones they had to let go. This space became not only a personal memorial for the artist but a collective sanctuary for all those who had silently endured the pain of infertility and loss.

In this space, Firestone stood to comfort those suffering, welcoming their contributions with empathy and understanding. What began as a room filled with her own grief transformed into a shared place of healing and mourning, where visitors could release their pain in a communal acknowledgment of the struggles that so often remain unspoken. As the walls and ceiling filled with the offerings, The Baby’s Room: An Evolved Shrine to Shared Grief became a powerful, ever-growing symbol of connection, reflection, and the unseen burdens carried by many.

Size Determined by Venue
The Baby's Room is an interactive space that invites visitors to heal by contributing their own cherished objects to the piece. Over time, the surrounding walls and ceiling become covered with gifts from visitors, each one sewn into a massive quilt, growing with the exhibition much like the AIDS quilt did. As this collective artwork expands, it envelops visitors as if wrapped in a mother’s love, inviting them to explore their own inner worlds related to motherhood, infertility, loss, and hope.

As a central part of the installation, The Baby's Room began with the artist’s own cherished objects—her rocking chair, fabrics, dolls, and family heirlooms, all purchased and saved in preparation for a child that would never come. However, this intimate space evolved into something far greater. As visitors, many of whom had experienced infertility or the loss of children and loved ones, contributed their own precious belongings, The Baby's Room became an impromptu shrine to shared grief.

Contributors offered up objects that symbolized their losses—family mementos, baby items, and cherished tokens of the children they longed for or loved ones they had to let go. This space became not only a personal memorial for the artist but a collective sanctuary for all those who had silently endured the pain of infertility and loss.

In this space, Firestone stood to comfort those suffering, welcoming their contributions with empathy and understanding. What began as a room filled with her own grief transformed into a shared place of healing and mourning, where visitors could release their pain in a communal acknowledgment of the struggles that so often remain unspoken. As the walls and ceiling filled with the offerings, The Baby’s Room: An Evolved Shrine to Shared Grief became a powerful, ever-growing symbol of connection, reflection, and the unseen burdens carried by many.

The Empty Womb
Watch on Amazon Prime

The Empty Womb features Fine Artist Robbi Firestone’s powerful art installation and her personal journey through infertility. This raw and authentic documentary, created by internationally renowned filmmaker Betsy Chasse, explores the deep, often unspoken emotions experienced by millions of women facing infertility. Chasse, best known for co-creating, directing, and writing the groundbreaking documentary "What the Bleep Do We Know?", brings her visionary storytelling to The Empty Womb, blending art and personal narrative to explore profound concepts of sisterhood and truth. The film emphasizes the need for women to express their true feelings and the importance of listening to one another without judgment. The Empty Womb is a compelling exploration of loss, resilience, and the strength found in shared experiences.

"The Empty Womb" Film
Watch on Amazon Prime

The Empty Womb features Fine Artist Robbi Firestone’s powerful art installation and her personal journey through infertility. This raw and authentic documentary, created by internationally renowned filmmaker Betsy Chasse, explores the deep, often unspoken emotions experienced by millions of women facing infertility. Chasse, best known for co-creating, directing, and writing the groundbreaking documentary "What the Bleep Do We Know?", brings her visionary storytelling to The Empty Womb, blending art and personal narrative to explore profound concepts of sisterhood and truth.

The film opened in concert with the Illuminated Women Film Festival, running parallel to the United Nations Commission on the Status of Women event, adding to its global significance. The Empty Womb emphasizes the need for women to express their true feelings and the importance of listening to one another without judgment. It is a compelling exploration of loss, resilience, and the strength found in shared experiences.

Watch on Amazon Prime

The Empty Womb features Fine Artist Robbi Firestone’s powerful art installation and her personal journey through infertility. This raw and authentic documentary, created by internationally renowned filmmaker Betsy Chasse, explores the deep, often unspoken emotions experienced by millions of women facing infertility. Chasse, best known for co-creating, directing, and writing the groundbreaking documentary "What the Bleep Do We Know?", brings her visionary storytelling to The Empty Womb, blending art and personal narrative to explore profound concepts of sisterhood and truth.

The film opened in concert with the Illuminated Women Film Festival, running parallel to the United Nations Commission on the Status of Women event, adding to its global significance. The Empty Womb emphasizes the need for women to express their true feelings and the importance of listening to one another without judgment. It is a compelling exploration of loss, resilience, and the strength found in shared experiences.

Film @United Nations: Commisson on The Status of Women
The Empty Womb
Watch on Amazon Prime

The Empty Womb features Fine Artist Robbi Firestone’s powerful art installation and her personal journey through infertility. This raw and authentic documentary, created by internationally renowned filmmaker Betsy Chasse, explores the deep, often unspoken emotions experienced by millions of women facing infertility. Chasse, best known for co-creating, directing, and writing the groundbreaking documentary "What the Bleep Do We Know?", brings her visionary storytelling to The Empty Womb, blending art and personal narrative to explore profound concepts of sisterhood and truth.

The film opened in concert with the Illuminated Women Film Festival, running parallel to the United Nations Commission on the Status of Women event, adding to its global significance. The Empty Womb emphasizes the need for women to express their true feelings and the importance of listening to one another without judgment. It is a compelling exploration of loss, resilience, and the strength found in shared experiences.

Film @United Nations: Commisson on The Status of Women
The Empty Womb
Watch on Amazon Prime

The Empty Womb features Fine Artist Robbi Firestone’s powerful art installation and her personal journey through infertility. This raw and authentic documentary, created by internationally renowned filmmaker Betsy Chasse, explores the deep, often unspoken emotions experienced by millions of women facing infertility. Chasse, best known for co-creating, directing, and writing the groundbreaking documentary "What the Bleep Do We Know?", brings her visionary storytelling to The Empty Womb, blending art and personal narrative to explore profound concepts of sisterhood and truth.

The film opened in concert with the Illuminated Women Film Festival, running parallel to the United Nations Commission on the Status of Women event, adding to its global significance. The Empty Womb emphasizes the need for women to express their true feelings and the importance of listening to one another without judgment. It is a compelling exploration of loss, resilience, and the strength found in shared experiences.

12 feet H x 10 feet W
Mixed media collage: virgin wool, charcoal drawings, silk, dress manequin, poetry by the artist, fabric, embroidered handkerchiefs, and found objects

In this profoundly vulnerable collage, "I Will Always Hate You," Robbi Firestone lays bare the excruciating emotional landscape of infertility. The work incorporates virgin wool, charcoal drawings, silk, embroidered handkerchiefs, and other fabrics, creating a textured, multi-layered expression of the raw pain, anger, and isolation experienced by women facing the physical and emotional toll of fertility struggles. The embroidered handkerchiefs, traditionally symbols of comfort and care, serve as poignant reminders of the grief and unspoken pain stitched into the experience.

The piece confronts the well-meaning but often hurtful comments that belittle the pain of infertility, exploring how such dismissiveness can drive women into deep depression, and sometimes even to the brink of suicide. It also addresses the challenges of managing hormonal changes, the difficulty of maintaining one's sense of self under their influence, and the isolation that comes from being unable to speak openly about grief with loved ones.

"I Will Always Hate You" touches on the sharp jealousy felt when others walk with full, pregnant bellies, attend baby showers, or offer dismissive advice like "get over it." Through the integration of virgin wool and delicate silk, the piece evokes the conflicting emotions of softness and pain, while the charcoal drawings add a raw, unfinished quality, emphasizing the unresolved grief. The embroidered handkerchiefs add an intimate layer to the collage, embodying the quiet sorrow and personal anguish woven into the struggle. This deeply personal and emotionally charged work captures the profound loneliness, sense of being an outcast, and the immense weight of living with infertility.

12 feet H x 10 feet W
Mixed media collage: virgin wool, charcoal drawings, silk, dress manequin, poetry by the artist, fabric, embroidered handkerchiefs, and found objects

In this profoundly vulnerable collage, "I Will Always Hate You," Robbi Firestone lays bare the excruciating emotional landscape of infertility. The work incorporates virgin wool, charcoal drawings, silk, embroidered handkerchiefs, and other fabrics, creating a textured, multi-layered expression of the raw pain, anger, and isolation experienced by women facing the physical and emotional toll of fertility struggles. The embroidered handkerchiefs, traditionally symbols of comfort and care, serve as poignant reminders of the grief and unspoken pain stitched into the experience.

The piece confronts the well-meaning but often hurtful comments that belittle the pain of infertility, exploring how such dismissiveness can drive women into deep depression, and sometimes even to the brink of suicide. It also addresses the challenges of managing hormonal changes, the difficulty of maintaining one's sense of self under their influence, and the isolation that comes from being unable to speak openly about grief with loved ones.

"I Will Always Hate You" touches on the sharp jealousy felt when others walk with full, pregnant bellies, attend baby showers, or offer dismissive advice like "get over it." Through the integration of virgin wool and delicate silk, the piece evokes the conflicting emotions of softness and pain, while the charcoal drawings add a raw, unfinished quality, emphasizing the unresolved grief. The embroidered handkerchiefs add an intimate layer to the collage, embodying the quiet sorrow and personal anguish woven into the struggle. This deeply personal and emotionally charged work captures the profound loneliness, sense of being an outcast, and the immense weight of living with infertility.

12 feet H x 10 feet W
Mixed media collage: virgin wool, charcoal drawings, silk, dress manequin, poetry by the artist, fabric, embroidered handkerchiefs, and found objects

In this profoundly vulnerable collage, "I Will Always Hate You," Robbi Firestone lays bare the excruciating emotional landscape of infertility. The work incorporates virgin wool, charcoal drawings, silk, embroidered handkerchiefs, and other fabrics, creating a textured, multi-layered expression of the raw pain, anger, and isolation experienced by women facing the physical and emotional toll of fertility struggles. The embroidered handkerchiefs, traditionally symbols of comfort and care, serve as poignant reminders of the grief and unspoken pain stitched into the experience.

The piece confronts the well-meaning but often hurtful comments that belittle the pain of infertility, exploring how such dismissiveness can drive women into deep depression, and sometimes even to the brink of suicide. It also addresses the challenges of managing hormonal changes, the difficulty of maintaining one's sense of self under their influence, and the isolation that comes from being unable to speak openly about grief with loved ones.

"I Will Always Hate You" touches on the sharp jealousy felt when others walk with full, pregnant bellies, attend baby showers, or offer dismissive advice like "get over it." Through the integration of virgin wool and delicate silk, the piece evokes the conflicting emotions of softness and pain, while the charcoal drawings add a raw, unfinished quality, emphasizing the unresolved grief. The embroidered handkerchiefs add an intimate layer to the collage, embodying the quiet sorrow and personal anguish woven into the struggle. This deeply personal and emotionally charged work captures the profound loneliness, sense of being an outcast, and the immense weight of living with infertility.

12 feet H x 10 feet W
Mixed media collage: virgin wool, charcoal drawings, silk, dress manequin, poetry by the artist, fabric, embroidered handkerchiefs, and found objects

In this profoundly vulnerable collage, "I Will Always Hate You," Robbi Firestone lays bare the excruciating emotional landscape of infertility. The work incorporates virgin wool, charcoal drawings, silk, embroidered handkerchiefs, and other fabrics, creating a textured, multi-layered expression of the raw pain, anger, and isolation experienced by women facing the physical and emotional toll of fertility struggles. The embroidered handkerchiefs, traditionally symbols of comfort and care, serve as poignant reminders of the grief and unspoken pain stitched into the experience.

The piece confronts the well-meaning but often hurtful comments that belittle the pain of infertility, exploring how such dismissiveness can drive women into deep depression, and sometimes even to the brink of suicide. It also addresses the challenges of managing hormonal changes, the difficulty of maintaining one's sense of self under their influence, and the isolation that comes from being unable to speak openly about grief with loved ones.

"I Will Always Hate You" touches on the sharp jealousy felt when others walk with full, pregnant bellies, attend baby showers, or offer dismissive advice like "get over it." Through the integration of virgin wool and delicate silk, the piece evokes the conflicting emotions of softness and pain, while the charcoal drawings add a raw, unfinished quality, emphasizing the unresolved grief. The embroidered handkerchiefs add an intimate layer to the collage, embodying the quiet sorrow and personal anguish woven into the struggle. This deeply personal and emotionally charged work captures the profound loneliness, sense of being an outcast, and the immense weight of living with infertility.

8 feet H x 12 feet W
Mixed media collage: virgin wool, charcoal drawings, silk, fabric, embroidered handkerchiefs, and found objects

A sister piece to "I Will Always Hate You,""Innocent Lamb: Pinocchio's Sister" confronts the painful lies women tell to survive life after infertility. The same delicate materials—virgin wool, silk, embroidered handkerchiefs, and charcoal drawings—are used to create a raw, emotionally charged work that speaks to the societal pressures infertile women face. Much like Pinocchio, women lie about being "okay" after failed IVF treatments and infertility, as if to protect the feelings of those around them. As innocent as lambs, these lies are not malicious but necessary for survival, allowing the woman to navigate a world that doesn’t know the true toll of infertility.

Through the distorted fabric and torn embroidery, the piece symbolizes the disheveled emotional state of those who have experienced infertility. The silk sleep gown, worn and ravaged, represents how women feel stripped of their vitality, reduced to an empty shell. The dress form, placed within the composition, is a stark symbol of the emptiness left behind—women walking through life as though they are whole, while inside they feel completely hollow.

The societal attacks continue, as women without children often garner less respect. Friendships fade as childless women become outsiders, unable to connect with friends who focus on their families and children. The isolation is deep, leaving these women alone until, perhaps, decades later, their friends’ children have grown to adulthood, allowing their relationships to be rekindled. Only then, when their friends are “free” once more, can these connections be revived.

No one speaks of the true statistics—the high chances of IVF not working—and yet women lie about being fine, about their marriages being stable, about their hearts being unbroken, all to make others feel comfortable. The external world expects them to move on, but internally, they are disappearing, feeling less than human, like walking ghosts. The work also explores the deep societal judgment that women without children often face—being told, "You’re not a real woman if you don’t have children," which further drives the emotional devastation.

Innocent Lamb: Pinocchio's Sister is a powerful commentary on the emotional wreckage of infertility and the pressure to uphold a facade of normalcy while feeling utterly broken and alone.

18"H x 24"H
Oil painting, virgin wool crochet

"All the Ones Who Came Before (She Tries to Comfort Me)" is a poignant oil painting that captures the image of a very old woman, embodying the spirit of maternal lineage, wisdom, and loss. The figure represents all the women who have come before the artist—ancestors, mothers, and women whose paths were also marked by struggle, grief, and yearning. In her deeply lined face and gentle expression, she attempts to offer solace, a gesture of comfort across generations, for the artist's pain of infertility and loss.

The delicate crocheted virgin wool frames the painting, representing the nurturing love and protection passed down through the hands of women. The old woman, though aged and frail, radiates a quiet strength, a symbol of the unbroken chain of maternal spirit that seeks to offer support even when words fail. Her presence serves as a reminder that the grief and struggle the artist faces is part of a much larger history, shared by countless women.

This piece not only reflects the weight of generational suffering but also the love, strength, and wisdom inherent in the maternal lineage. The old woman’s quiet comfort offers a profound connection, even in times of deep isolation. Through this piece, the artist immortalizes both the sorrow and solace found in the women who came before her, creating a tender, emotional narrative of resilience, longing, and the complex ties between past and present.

"The Funeral Chairs: Infinite Journals"
Roomwide, Interactive Installation

"The Funeral Chairs: Infinite Journals" is a large-scale, participatory installation that invites audience members to explore their own emotions through creative expression. In the center of the room sits a quiet, solitary child’s school desk, evoking a sense of stillness and introspection. Visitors are encouraged to sit at the desk and write their feelings in journals provided as part of the installation. These journals serve as a cathartic outlet for the grief, loss, and personal struggles that so often go unspoken.

As participants engage, they are invited to contribute their writings, drawings, or creative reflections to the surrounding walls in any form they choose. These contributions grow over time, transforming the walls into a collective tapestry of shared human experiences. The installation becomes an evolving space of connection, where personal stories of loss, healing, and hope intermingle, offering both release and solidarity.

The artist herself has contributed hundreds of her own personal journals to the room, creating an even deeper connection with visitors as her own private reflections sit alongside those of others. The title, "The Funeral Chairs," symbolizes the emotional weight of loss and remembrance, while "Infinite Journals" speaks to the unending nature of these reflections. The room’s atmosphere fosters a quiet, contemplative space, allowing visitors to delve into their inner worlds and contribute to the ongoing narrative of healing and catharsis.

Roomwide, Interactive Installation

"The Funeral Chairs: Infinite Journals" is a large-scale, participatory installation that invites audience members to explore their own emotions through creative expression. In the center of the room sits a quiet, solitary child’s school desk, evoking a sense of stillness and introspection. Visitors are encouraged to sit at the desk and write their feelings in journals provided as part of the installation. These journals serve as a cathartic outlet for the grief, loss, and personal struggles that so often go unspoken.

As participants engage, they are invited to contribute their writings, drawings, or creative reflections to the surrounding walls in any form they choose. These contributions grow over time, transforming the walls into a collective tapestry of shared human experiences. The installation becomes an evolving space of connection, where personal stories of loss, healing, and hope intermingle, offering both release and solidarity.

The artist herself has contributed hundreds of her own personal journals to the room, creating an even deeper connection with visitors as her own private reflections sit alongside those of others. The title, "The Funeral Chairs," symbolizes the emotional weight of loss and remembrance, while "Infinite Journals" speaks to the unending nature of these reflections. The room’s atmosphere fosters a quiet, contemplative space, allowing visitors to delve into their inner worlds and contribute to the ongoing narrative of healing and catharsis.

"The Funeral Chairs: Infinite Journals"
Roomwide, Interactive Installation

"The Funeral Chairs: Infinite Journals" is a large-scale, participatory installation that invites audience members to explore their own emotions through creative expression. In the center of the room sits a quiet, solitary child’s school desk, evoking a sense of stillness and introspection. Visitors are encouraged to sit at the desk and write their feelings in journals provided as part of the installation. These journals serve as a cathartic outlet for the grief, loss, and personal struggles that so often go unspoken.

As participants engage, they are invited to contribute their writings, drawings, or creative reflections to the surrounding walls in any form they choose. These contributions grow over time, transforming the walls into a collective tapestry of shared human experiences. The installation becomes an evolving space of connection, where personal stories of loss, healing, and hope intermingle, offering both release and solidarity.

The artist herself has contributed hundreds of her own personal journals to the room, creating an even deeper connection with visitors as her own private reflections sit alongside those of others. The title, "The Funeral Chairs," symbolizes the emotional weight of loss and remembrance, while "Infinite Journals" speaks to the unending nature of these reflections. The room’s atmosphere fosters a quiet, contemplative space, allowing visitors to delve into their inner worlds and contribute to the ongoing narrative of healing and catharsis.

24"W x 8'H
Oil painting, virgin wool crochet

"Shara: My Daughter" is a poignant oil painting that embodies the artist’s deepest prayer—a vision of the daughter she never had. Crafted with tenderness and hope, this piece was created as an invitation to the spirit of the daughter the artist longed to bring into the world. Shara, depicted as a grown woman, appears graceful and radiant, perhaps a dancer, with the artist’s own eyes and smile—a reflection of the life that was imagined but never came to be.

The delicate crocheted virgin wool frames the painting, representing the nurturing love the artist wished to bestow upon her child. This piece is not only a work of art but a dream captured in oil and yarn, a mother’s vision of the daughter she wanted to watch grow, play, fall in love, and become her greatest teacher.

In this painting, Shara is more than a figure on canvas; she is the embodiment of a future that the artist yearned for—a life intertwined with hers, full of shared experiences, love, and learning. Though this dream never materialized, "Shara: My Daughter" immortalizes the emotional depth of a mother's love and longing, a testament to the profound grief and beauty found in the unfulfilled hope for motherhood.

Hand-Embroidered on Antique Handkerchiefs
Each handkerchief: 8" x 8"
Overall size: Varies by venue

"The Titles" is an intimate and powerful introduction to the artist’s installation. Each of the 27 art pieces in the exhibit is represented by its title, hand-embroidered on 8" x 8" antique handkerchiefs in varying shades of red and brown thread, symbolizing the many facets of blood—life, loss, and time. These titles include evocative works such as "But Your Paintings Are Your Babies," "Are You Willing to Die for Your Heart's Desire?", "Home is Dead to Me Now: The Hysterectomy," "The Funeral Chairs: Infinite Journals," and "I Died with My Babies."

As viewers walk past this wall of delicate handkerchiefs, they are invited into a space of reflection, absorbing the significance of each piece even before entering the main exhibit. The handkerchiefs, traditionally associated with comfort and care, serve as poignant symbols of both personal and collective grief. Suspended in the entrance hall, these embroidered works form a visually striking introduction, with the overall size of the installation varying by venue to create an immersive, contemplative atmosphere. The arrangement serves as a quiet, yet powerful, prelude to the emotional depth awaiting within the exhibit.

Fine Artist Robbi Firestone’s installation, The Empty Womb, examines the darkest shadow of the female experience: infertility. By combining medical and pharmaceutical paraphernalia from her, personal in-vitro journey with traditional women’s pursuits (crocheting, embroidery, video, lullabies), Firestone creates a moving, emotional, experiential immersion. Created and presented as an experiential immersion, the piece provokes a range of emotions and experiences of catharsis for many viewers.

The art installation provokes catharsis, and will provide resources for viewers. The work examines the cult of woman as creator and investigates the frailties, sorrow, jealousy, and rage erupting from unfulfilled hopes for biological lineage.

Betsy Chasse, producer/writer/director of What the Bleep Do We Know? is filming a documentary about Firestone’s installation.

An “emotional exorcism,” The Empty Womb speaks difficult core truths about infertility, bravery, devastation… and recovery. The installation unites us in reverence for what is inherent, inherited, and bone-deep among all women.

Firestone is also writing an accompanying book with Johns Hopkins professor, Dave Durham, MD, MPH the brain science of coping with and grieving child loss.

By invitation, museum curators and members of the press may preview The Empty Womb in process at the artist’s studio in Santa Fe, NM. The Empty Womb art installation and film will tour globally in 2018.

To stay in touch about the future of this work, click here, and choose your preferences.

Robbi Firestone Receives Global Award and Tours India with The Empty Womb Installation

In recognition of her groundbreaking work on The Empty Womb art installation, which addresses infertility, child loss, and miscarriage, Robbi Firestone was honored with the Iconic Leaders Bettering the World for All award by Vincent H. Pala, Member of Parliament in India, and Dr. Harbeen Arora, founder of the Women Economic Forum. This prestigious award acknowledges her tireless efforts in shedding light on the often unspoken struggles of infertility and the emotional toll it takes on women worldwide.

Following the award ceremony, Firestone embarked on an inspirational tour across India, where she shared The Empty Womb installation and documentary film with thousands of women. Her journey included speaking engagements, seminars, and panel discussions, where she addressed the complex societal and personal challenges surrounding female infertility. From bustling cities to rural communities, Firestone created safe spaces for women to share their own stories, breaking the silence around a topic that affects millions.

The installation resonated deeply with audiences across India, creating an outpouring of support and dialogue. Through her seminars and talks, Firestone explored the emotional, physical, and psychological impact of infertility and encouraged healing through art and community. Her work continues to inspire and empower women to express their truths, challenge societal norms, and seek understanding and compassion for one another.

Robbi Firestone Receives Global Award and Tours India with The Empty Womb Installation

In recognition of her groundbreaking work on The Empty Womb art installation, which addresses infertility, child loss, and miscarriage, Robbi Firestone was honored with the Iconic Leaders Bettering the World for All award by Vincent H. Pala, Member of Parliament in India, and Dr. Harbeen Arora, founder of the Women Economic Forum. This prestigious award acknowledges her tireless efforts in shedding light on the often unspoken struggles of infertility and the emotional toll it takes on women worldwide.

Following the award ceremony, Firestone embarked on an inspirational tour across India, where she shared The Empty Womb installation and documentary film with thousands of women. Her journey included speaking engagements, seminars, and panel discussions, where she addressed the complex societal and personal challenges surrounding female infertility. From bustling cities to rural communities, Firestone created safe spaces for women to share their own stories, breaking the silence around a topic that affects millions.

The installation resonated deeply with audiences across India, creating an outpouring of support and dialogue. Through her seminars and talks, Firestone explored the emotional, physical, and psychological impact of infertility and encouraged healing through art and community. Her work continues to inspire and empower women to express their truths, challenge societal norms, and seek understanding and compassion for one another.

Robbi Firestone Receives Global Award and Tours India with The Empty Womb Installation

In recognition of her groundbreaking work on The Empty Womb art installation, which addresses infertility, child loss, and miscarriage, Robbi Firestone was honored with the Iconic Leaders Bettering the World for All award by Vincent H. Pala, Member of Parliament in India, and Dr. Harbeen Arora, founder of the Women Economic Forum. This prestigious award acknowledges her tireless efforts in shedding light on the often unspoken struggles of infertility and the emotional toll it takes on women worldwide.

Following the award ceremony, Firestone embarked on an inspirational tour across India, where she shared The Empty Womb installation and documentary film with thousands of women. Her journey included speaking engagements, seminars, and panel discussions, where she addressed the complex societal and personal challenges surrounding female infertility. From bustling cities to rural communities, Firestone created safe spaces for women to share their own stories, breaking the silence around a topic that affects millions.

The installation resonated deeply with audiences across India, creating an outpouring of support and dialogue. Through her seminars and talks, Firestone explored the emotional, physical, and psychological impact of infertility and encouraged healing through art and community. Her work continues to inspire and empower women to express their truths, challenge societal norms, and seek understanding and compassion for one another.

Robbi Firestone's impactful work on infertility through The Empty Womb art installation reached new heights during her tour of India, where she engaged with thousands of women on the often unspoken topic of female infertility. Through intimate gatherings, workshops, and keynote speeches at the Women Economic Forum, Firestone shared her personal journey while fostering an environment where women could express their own struggles with infertility, loss, and motherhood.

Her sessions ranged from personal conversations with small groups to larger forums, where she invited women to confront societal expectations surrounding motherhood and the emotional toll of infertility treatments. These events were designed not only to raise awareness but also to provide a safe space for women to connect with others facing similar challenges.

During her time in India, Firestone had the honor of meeting some of the most influential figures in Indian film, including the "Scorsese of India," a renowned film director. The cross-cultural exchange of ideas and creative energy brought new dimensions to Firestone’s mission of using art to express the unspoken pain of infertility. These engagements were not only a bridge for global conversations on women’s health but also an opportunity for Firestone to inspire change and healing through art.

As she toured, Firestone held various interactive discussions, with participants contributing their personal stories of infertility, miscarriage, and child loss. Her work became a beacon of solidarity, encouraging women to break the silence and stigma around these issues. The installations and talks resonated deeply, transforming the gallery spaces into healing environments where women could both reflect on their own experiences and feel seen.

Firestone’s presence in India was amplified by her participation in the Women Economic Forum, where she was honored for her contributions to the global conversation on female infertility. These engagements were not only an extension of her powerful art but a catalyst for ongoing dialogue about women’s health and empowerment.

VINCENT H. PALA
Member of Parliament, Lok Sabha

14th May 2017

Dear Ms. Robbi Firestone,

Foremost, accept my congratulations and respects for your presentation on your work titled, "The Empty Womb" that deals with infertility, child loss, and miscarriage amongst women.

Your presentation was moving and poignant. It was stirring and that was evident in the response that you evoked from the audience. Indeed the inertia surrounding the issue is abject and this needs to be spoken at the highest levels in the world. As a Member of the Indian Parliament, I write this note to you to express my support and solidarity to this cause for the hand that rocks the cradle and rules the world.

Your award titled: "Iconic Leaders Bettering the World for All," at the Global Women’s economic forum with over 2000 participants from 50 countries worldwide is the well-deserved testimony to those millions of silent tears, stigma, hopelessness, and the feeling of wantonness that drive women to the edge of despair without any hope of repair.

Please accept my good wishes.

(Signature)
Vincent H. Pala
Member of Parliament
Shillong, Meghalaya
India

Robbi Firestone's impactful work on infertility through The Empty Womb art installation reached new heights during her tour of India, where she engaged with thousands of women on the often unspoken topic of female infertility. Through intimate gatherings, workshops, and keynote speeches at the Women Economic Forum, Firestone shared her personal journey while fostering an environment where women could express their own struggles with infertility, loss, and motherhood.

Her sessions ranged from personal conversations with small groups to larger forums, where she invited women to confront societal expectations surrounding motherhood and the emotional toll of infertility treatments. These events were designed not only to raise awareness but also to provide a safe space for women to connect with others facing similar challenges.

During the tour, Firestone held various interactive discussions, with participants contributing their personal stories of infertility, miscarriage, and child loss. Her work became a beacon of solidarity, encouraging women to break the silence and stigma around these issues. The installations and talks resonated deeply, transforming the gallery spaces into healing environments where women could both reflect on their own experiences and feel seen.

Firestone’s presence in India was amplified by her participation in the Women Economic Forum, where she was honored for her contributions to the global conversation on female infertility. These engagements were not only an extension of her powerful art but a catalyst for ongoing dialogue about women’s health and empowerment.

Fine Artist Robbi Firestone has created The Empty Womb, a large scale, sculptural installation in the making.

Produced from Firestone’s personal in-vitro journey and medical supplies, video, industrial objects,

and traditional women’s work (embroidery, crochet, lullabies)

The mission of this project is to provide catharsis and resources for women

coping with infertility, miscarriage, child loss and/or in-vitro fertilization.

The Empty Womb has already has been featured in national press;

Parade Magazine 1/31/2016 (Readership; 54 million).

Artist Robbi Firestone …has created an installation called The Empty Womb which deals

with her infertility issues. The small rooms contain everything from hypodermic needles and

other medical paraphernalia from Firestone’s own in-vitro journey, to sweetly crocheted baby clothes

that will never be worn. Art is emotion on canvas, Firestone’s Empty Womb exhibit is a

ragged cry of pain and acceptance.

-Writer Rachel Weingarten

The Empty Womb speaks to difficult, core truths about infertility, bravery, devastation…and recovery,

uniting us in reverence for what is inherent, inherited, and bone-deep among women.

Firestone says, This artwork is healing my deep, personal grief, yes, yet I have witnessed

50+ women break down in tears, discuss their losses with me and one another,

and reach catharsis while visiting The Empty Womb in my studio. I have come to know that this work has

come through me, with a Life and Spirit of its own. Simply put,

The Empty Womb is not “Mine.” It is for every woman who has suffered child loss.

Internationally renowned filmmaker Betsy Chasse, Creator/Producer/Director of the best selling film,

What the Bleep do We Know, is in final post production on a fully funded documentary about creation of

The Empty Womb, infertility, invitro-fertilization, and creativity to be released at festivals September 2016.

Edited by an Academy Award Nominee, this film, also titled The Empty Womb, will provide the exposure,

and leverage. We will also find a strategic partner to create a website to provide resources

to women coping with infertility.

The Empty Womb has yet to find it’s first museum home. If this piece touches you,

and you have ideas/contacts which might support this project to fulfill it’s mission,

please contact the artist.

Artistic Collaborators: Sandi Decker, Patty Berry, Joyce Oliver, Nanette Colby