I am revisiting themes from work made long ago much of which explored women’s fertility, agency, self-realization.
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.
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.
This piece is an apt summation of my art work of the last couple of years– most of which is born out of deep attachment to and reverence for the book form (arguably the most ingenious, mobile, transferable, humanistic, and renewable technology ever devised).
Here are two pieces using the text of Franz Kafka’s story, The Metamorphosis. I started with a bilingual German/English edition (Schocken Books, 1968) so that I wouldn’t loose text on the verso of each page.
On my first trip to Turkey (1990), I collected various ephemera (newspaper clippings, phone cards, ticket stubs, coupons, receipts) during the course of travel.