Molly Gochman


Photo: Christopher Rosales.

Hello, I’m Molly Gochman - thank you for visiting.

I’m an experiential artist based in New York City and working around the world, where my projects can bring together the collective experiences of many people for greater understanding.

I believe we live in a world where thoughtful participation – with our environment, with our objects, with our community, with ourselves and with our fellow human beings – is the greatest good we can do. This involvement, on every level, creates a world where empathy and freedom are our primary values.

Since I began as an artist, I’ve been experimenting by creating collaborations between myself, as the artist, and my audience. Exploring the relationship between our environment and the experiences that we have both individually and collectively creates a common language, without the need for words to express ourselves.

To this end, my work is both very personal and philosophical, as the expression of thoughts and feelings set in a completely new context for the viewer to perceive for him or herself.

With this approach, I’ve touched on a broad range of themes: time, history, identity, memory, freedom, creation and manipulation. My work has manifested itself in forms as diverse as sculpture, photography, sound works and installations.

My longest ongoing project is Red Sand Project. What began as an experiment at Art Basel Miami in 2014 has now expanded to all 50 United States and more than 70 countries worldwide. Red Sand Project is a participatory artwork that uses sidewalk interventions, earthwork installations, and convenings to create opportunities for people to question, connect, and take action against vulnerabilities that can lead to human trafficking and exploitation.

While it’s impossible to sum up the message and meaning of any project, I encourage you to browse through some of my recent work that has both shaped and been shaped by my experiences and perspective.

My activism extends beyond my individual art practice. Over the years, I have developed Stardust, a dynamic portfolio of projects, partnerships, and investments working to illuminate value. Through philanthropy, impact investing, and publicly engaged arts initiatives, Stardust is dedicated to the social participation and power of excluded and exploited people, with a particular commitment to women and girls.

I realize as an activist in the art world and beyond, I can play a role as a convener of thought leaders, influential groups, and those with resources to help. This rewarding work has brought about opportunities to raise awareness – both in my home of New York City, and in my hometown community of Houston – to galvanize greater resources for the fight.

If you’d like to start a conversation about a possible collaboration, please contact me.


I was born in San Antonio, TX, where the love and warmth of my family initiated a lifetime of thoughtful reflection and contemplation about the world around me, whether it was my local community or the world at large.

Since earning my BFA in 2001 from Quaker-founded Guilford College in Greensboro, NC, I have exhibited in the U.S. and internationally, including shows at Lincoln Center, New York, the Emily Harvey Foundation, New York, chashama, New York, the Hobby Center for the Performing Arts, Houston, TX, DiverseWorks, Houston, TX, the Sara Roney Gallery, Sydney, Australia, and many other galleries, museums, and public spaces.


2015 Named Freedom Fund Board Member

2014 Named a New York New Abolitionist

2014 Children’s Rights Champion Award Winner

2010 Artist of the Year, DiverseWorks, Houston, TX

2008 Vermont Studio Center Individual Artist Residency, Johnson, VT

2007 Elsewhere Artist Collaborative Artist Residency, Greensboro, NC

Artist's Statement

I believe all art is time-based. Works of art document moments in time. They represent time spent by the artist in thought and action, and they’re experienced by an audience in time. Time and change are inexorably connected, and transformation over time is of great interest to me.

The world has never before been more aware than it is today. Right now. With this moment and every one following, we gain more and more knowledge about the environment, people, and cultures that surround us.

My work is an opportunity to take this moment, and make the most of it. We overlook so much in the world, and I want to encourage people to stop, soften and really feel the meaning that exists in objects and communities that surround us. The marks of time are apparent everywhere. Like how a deteriorating photograph communicates its history, the way a chair with no legs speaks of what is missing and what remains.

We also have the opportunity to look ahead to what isn’t, but what can be with time – to create cultural change through global empathy. Never before has there been such an opportunity to rally a global collective and bring together the unprecedented level of commitment, activism, and disparate voices calling for a more just, caring world.

Today, we have more opportunities to participate than ever before, and thus to create greater impact than at any previous time in our history. Global awareness of issues, of injustices, of fairness, have begun to unite the power of individuals’ voices into a more forceful mass, gaining the attention and power of organizations, governments, and the private sector to help create change.

And with every new project, I never forget this: every free individual is also a singular vehicle for change. I’m continually inspired by others and hope my work can in turn inspire others to believe in their own voice and abilities so they too can make a difference.

My work is an invitation for you to reflect on and participate in the experience of humanity. As all art raises the consciousness of our society and helps to catalyze action, it’s my mission to encourage, provoke and ultimately inspire others to unique thought and action.

I hope that the person who experiences my work feels welcomed to go from the work into his or her own contemplation of what the work inspires in them or just offers them an opportunity to pause and be in that moment. In a sense, the works are only half-done when I complete my work on them. They are invitations to experience, and it’s up to each person who comes into contact with them to decide how – or if – to accept that invitation.