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Patsy Norvell was a New York-based sculptor and public art installation artist. She was active in the women’s movement beginning in 1969, participating in an artist conscious raising group and helping to start others. In 1972, Norvell was invited to exhibit in 13 Women, an important early women’s exhibit in New York which included Louise Bourgeois. In the same year she was a founding artist of A.I.R. Gallery, the first all-women’s gallery in the United States. Norvell’s art has been exhibited widely in galleries and museums and she was the recipient of numerous grants, awards, and artist residencies. In the 1970’s while she lectured and taught the artist introduced Women in the Arts courses at Montclair State College and Hunter College, as well as teaching mathematics at Hunter for many years. Permanent public art projects include installations at the Beverley and the Courtelyou BMT subway stations in Brooklyn, Newsstands in Manhattan, and plaza and lobby installations in Los Angeles, CA; New Brunswick, NJ; Bridgeport, CT; and Bethesda, MD, among others. In 2001 the University of California Press published Recording Conceptual Art, the book form of taped interviews Norvell recorded in 1969. She received her BA in art and mathematics from Bennington College and her MA in sculpture from Hunter College.

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These prints were created with master printmaker, Judith Solodkin from Solo Impressions in connection with the production of the A.I.R. Gallery Print Portfolio in the mid-1970's which also includes the work of Nancy Spero, Mary Beth Edelson and Agnes Denes among others. Work from Norvell's series/edition is included in the collections of the Whitney Museum of American Art and the Smithsonian, among other major institutions.
While this and much of Norvell’s work is inspired by the natural world, she also draws on her background in mathematics: “My experience working with abstract math--its frameworks, elegant logic and limits--has played a significant role in what I want my art to do and how it is manifested.” The forms and content in this work also foreshadow the many large-scale public art commissions and installations she produced in the 1980’s and 1990’s.