Last spring, I spent two weeks in Germany, a country punctuated by a variety of dramatic historical monuments.
Two collages celebrating English open timber beam construction: roof trusses, vaults, collar braces, and beams reconstructed into fractal-like volumes.
This collage series was created in pairs using photographs from British Mandate Palestine, a zoology handbook, pages from an Arabic dictionary, and assorted ephemera …
This series is made from individual folio pages from the book European Brasses by A.C. Bouquet and Michael Waring, published by Frederick Praeger Publishers in 1967.
In homage to the Super Panavision 70 mm format of Alexander Korda’s 1962 film Lawrence of Arabia, this collage is long and narrow to mimic the image aspect ratio of 2.20:1 and the vastness of a desert horizon.
War: first, one hopes to win; then one expects the enemy to lose; then, one is satisfied that he too is suffering; in the end, one is surprised that everyone has lost.
Folding books is a lot like crochet or knitting: you get in a groove and the action becomes very meditative.
The idea for a quilted coverlet simmered for weeks before I could come up with a method to actually make it work. This coverlet is made from the pages of A Lover’s Discourse by Roland Barthes.
This piece is a sister to Inferno, but celebrates the text with a constellation of gold spots. As with the other books in Dante’s Divine Comedy, circles play a central role in Paradiso (Heaven, or Paradise).
This diptych was created out of the text of Virginia Woolf’s dazzling short novel, Mrs Dalloway , originally published in London in 1925. The two panels are subtitled View of the Ouse in Daylight (yellow) and View of the Ouse in Moonlight (blue), with daylight referencing Clarissa and moonlight referencing Septimus, two of the central characters/voices of the novel.