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Visitors to the exhibition are welcomed by a depiction of Mary Elizabeth Onley’s artist signature.

An early rooster made with newspaper, glue and paint — one of her favorite modes of creating. “If my hand can’t get in the glue, I’m in trouble,” the artist said.

In choosing what images to create, MAMA-Girl often turned to Bible stories.

On the Eastern Shore, MAMA-Girl worked harvesting crops and picking crabs.

Images of watermelon appear frequently in MAMA-Girl’s art.

The “MAMA-Girl!” exhibition features artworks and objects from her studio, along with sounds from her work environments, never-before-seen video footage, her studio tools, and autobiographical art books and handwritten sermons, shared by more than a dozen lenders.

In this image, MAMA-Girl’s daughter, Sandra Reid-White, talks with chef, artist and folk art collector Sydney Meers during the exhibition’s opening reception Sept. 24, 2024.

Attendees of the “MAMA-Girl!” opening reception pose with a photograph of MAMA-Girl by Mark Atkinson.

MAMA-Girl became a licensed minister and said she would have chosen preaching over art if she’d had her way.

MAMA-Girl was an only child and was not raised by her parents. Many of her pieces depict mothers and children.

At the opening reception, an attendee views the range of MAMA-Girl’s work.

MAMA-Girl picked crops in Eastern Shore fields over the course of decades. At one farm where she worked, trailers and yellow baskets were used to gather zucchini and cucumbers.

A Bible verse that resonated with MAMA-Girl was Psalm 100: “Make a joyful noise …”

The exhibition includes items MAMA-Girl used in her studio on Virginia’s Eastern Shore.

MAMA-Girl’s spirit and vision attracted loyal fans in Hampton Roads and beyond.