My work explores inherited memory, displayed through poetic storytelling; collections of moments (remembered and re-imagined) are caught in connected series of drawings, etchings and writings.
The written work is (an)notational, mutable, subject to change and repetition, full of the traces of editing. It has developed throughout the course – now the writing process interweaves with imagery that it conjures up. I think of the text as an object that collects dust and scars – or a shoreline, detritus from the water layered on the soggy, sinking, land, with each driftwood or stone another dash or amended line. The etchings (details of which you can see below) act similarly, with the process attentive to the even the slightest of marks; the plates always open to new states. Each etching threatens to spill out of its given frame, with a footnote of figures swimming or dancing through all of the series, lines trailing outside of measured borders, guiding you on; asides, askance yet reflecting the central image.
The scanned notations at the top of this page expanded from a growing body of writing, with carbon paper drawings and charcoal layers (using wood charred by my mother!). The above sketch is among a sequence of drawings I have been working on from home.
The living landscapes and figures within arrive from disparate sources – critical insights and inherited views of Palestine and Israel, textures of familiar views from my windows, ancient stelae, medieval wall paintings, Renaissance frescoes, small fragments and stones found or gifted to me. Oral tales and anecdotes, told predominantly by my grandparents, are condensed into abstracted poetic forms, acting as prompts. The etchings (fragments of which you see above) are made in response to them. Along with clusters of objects that anchor the paper of the text and postcard-sized etching, I intend to show this series in full as a physical installation.