Category: Portfolio

In Every Landscape We See

March – April 2014

On view at The Philly Soapbox, March 21 – April 30

Opening March 21, 7 pm

This is the good place.  We slip back, into the few wild spaces left, seek solace from ourselves.  This is where goodness lives. This, the pure, the untamed, the right.  In the landscape where we can watch instead of do, we are subsumed into something better.  Sink down into the other, the land, the thing we are not.  But we made this.  We imagined this space and we frame it again and again.  This is no more good than we are, and no worse.  We are in every landscape we see.

A Migration of Words

As we move further and further into a world in which printed, bound, and preserved language seems obsolete, the temptation is to declare printed words well beyond the point of no return. Daily we assert that we have lost literacy, that we degrade the power and beauty of literature. We literally throw away our words as libraries weed their shelves. Every day we throw away our words, tossing them out with yesterday’s quaintly printed newspapers and the books in our parents’ attics. But we do not lose them. Words are more essential and sublime than the printed impressions we use, reuse, or destroy.

We live at a transformative moment, at the cusp of a world characterized by the changing, mutating, evolving, and perpetually edited freedom of digital media. Text is literally migrating from one form to another, taking new shapes and meanings every day. We must learn again, in an unceasing sea of words, how to navigate the waters of our language.

I Count the Days

In the spring of 2010 I created an artist book-memoir about traveling to and returning to Afghanistan, titled I Count the Days.  The text, accompanied by a series of silk screen-printed images and Persian miniature-inspired borders, explores the experience of being a young non-military woman in Afghanistan, first in 2004 and a second time in 2010.  Because I had the opportunity to meet women, girls, and families from a very rural and conservative community, I am able, in this memoir to show a part of Afghan life typically hidden from outside eyes.  The original book is hand screen-printed on tea-dyed paper and bound using a two-needle Coptic binding.  The covers are Afghan turban silk.

Prayer for an Agricultural Future

2008-2009

Ink and paper

Assorted bindings

Botanica

2012

Wintergreen oil

Assorted softcover bindings.

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