Relics (The Visual Language of Herbaria)
Relics (The Visual Language of Herbaria), 2022, part of an ongoing collaboration with Taylor Alaina Liebenstein Smith, weaving my texts and her images. This work also incorporates her writing practice into the visual artwork.
Photogravures on banana leaves incorporating texts written by Taylor Alaina Liebenstein Smith and several poems by Christopher Alexander Kostritsky Gellert. 50 x 60cm each. Banana leaves collected from gardeners at the serres tropicales du Jardin des Plantes, Paris, France via Taylor's collaboration with the Muséum National d'Histoire Naturelle.
Photogravures on banana leaves incorporating texts written by Taylor Alaina Liebenstein Smith and several poems by Christopher Alexander Kostritsky Gellert. 50 x 60cm each. Banana leaves collected from gardeners at the serres tropicales du Jardin des Plantes, Paris, France via Taylor's collaboration with the Muséum National d'Histoire Naturelle.
Cutting through the garden
Cutting through the garden, 2022, from a series of photopolymer prints made by Taylor Alaina Liebenstein Smith at the Atelier Bo Halbirk in Paris. She wove the text of two poems written by Christopher Alexander Kostritsky Gellert into pre-existing compositions.
Layer 1, 2022. 100 x 140cm. Photopolymer print on Thai paper. Printed with natural pigments and soy-based inks. Photosensitive film developed with natural light. Texture: photopolymer film degrades and rips throughout the printing process. Images: photographic superposition of plant elements collected, cultivated and photographed in petri dishes (leaves, lichens, mosses…).
Words from the poem Geography of Transparencies by Christopher Alexander Kostritsky Gellert are woven into the composition.
Layers 1 and 2, 2022. 100 x 140cm. Photopolymer print on transparent Japanese paper (Cf.same texture / images as Layer 1).
Words from the poem Geography of Transparencies by Christopher Alexander Kostritsky Gellert are woven into the composition.
Layers 1 and 2, 2022. 100 x 140cm. Photopolymer print on transparent Japanese paper (Cf.same texture / images as Layer 1).
details
She tears, she gouges, she takes off…
She tears, she gouges, she takes off... 2022, from a series of photopolymer prints made by Taylor Alaina Liebenstein Smith at the Atelier Bo Halbirk in Paris. She wove the text of two poems written by Christopher Alexander Kostritsky Gellert into pre-existing compositions.
Layer 1, 2022. 74 x 141cm. Photopolymer print on Korean paper. Printed with natural pigments and soy-based inks. Photosensitive film developed with natural light. Texture: photopolymer film degrades and rips throughout the printing process. Images: superposition of orchids, photographed at the greenhouses of Versailles-Chèvreloup, and birch (betula nana) branches photographed in Finland (Ii). Words from the poems Geography of Transparencies and The
moon is a place by Christopher Alexander Kostritsky Gellert are woven into the composition.
Layers 1 and 2, 2022. 74 x 141cm. Photopolymer print on transparent Japanese paper (Cf.same texture / images as Layer 1).
moon is a place by Christopher Alexander Kostritsky Gellert are woven into the composition.
Layers 1 and 2, 2022. 74 x 141cm. Photopolymer print on transparent Japanese paper (Cf.same texture / images as Layer 1).
details
A plane, rootless…
A plane, rootless, 2022, from a series of photopolymer prints made by Taylor Alaina Liebenstein Smith at the Atelier Bo Halbirk in Paris. She wove the text of two poems written by Christopher Alexander Kostritsky Gellert into pre-existing compositions.
A plane, rootless… 2022 Layer 1, 2022. 74 x 141cm. Photopolymer print on Korean paper. Printed with natural pigments and soy-based inks. Photosensitive film developed with natural light. Texture: photopolymer film degrades and rips throughout the printing process. Images: photographic superposition of birch trees (betula tortuosa) photographed in the Finnish tundra (Kilpisjärvi), “bacteria prints” (living photographic images generated by photosensitive bacteria,collected in the tundra) in petri dishes, cosmic data on the aurora borealis, and other elements
collected during a residency in Finland. Words from the poems Geography of Transparencies and The moon is a place by Christopher Alexander Kostritsky Gellert are woven into the composition.
Layers 1 and 2, 2022. 74 x 141cm. Photopolymer print on transparent Japanese paper (Cf. same texture / images as Layer 1).
collected during a residency in Finland. Words from the poems Geography of Transparencies and The moon is a place by Christopher Alexander Kostritsky Gellert are woven into the composition.
Layers 1 and 2, 2022. 74 x 141cm. Photopolymer print on transparent Japanese paper (Cf. same texture / images as Layer 1).
details
She preserves
She preserves, 2022, from a series of photopolymer prints made by Taylor Alaina Liebenstein Smith at the Atelier Bo Halbirk in Paris. She wove the text of two poems written by Christopher Alexander Kostritsky Gellert into pre-existing compositions.
Layer 1, 2022. 74 x 141cm. 74 x 141cm. Photopolymer print on Korean paper. Printed with natural pigments and soy-based inks. Photosensitive film developed with natural light. Texture: photopolymer film degrades and rips throughout the printing process. Images: photographic superposition of birch trees (betula tortuosa) photographed in the Finnish tundra (Kilpisjärvi), “bacteria prints” (living photographic images generated by photosensitive bacteria, collected in
the tundra) in petri dishes, cosmic data on the aurora borealis, topographical maps, and other elements (lichens, mosses…), collected during a residency in Finland. Words from the poems Geography of Transparencies and The moon is a place by Christopher Alexander Kostritsky Gellert are woven into the composition.
Layers 1 and 2, 2022. 74 x 141cm. Photopolymer print on transparent Japanese paper (Cf.
same texture / images as Layer 1).
the tundra) in petri dishes, cosmic data on the aurora borealis, topographical maps, and other elements (lichens, mosses…), collected during a residency in Finland. Words from the poems Geography of Transparencies and The moon is a place by Christopher Alexander Kostritsky Gellert are woven into the composition.
Layers 1 and 2, 2022. 74 x 141cm. Photopolymer print on transparent Japanese paper (Cf.
same texture / images as Layer 1).
details
TRANSLATION oF LAURE GAUTHIER'S "KAspAR DE PIERRE", ASYMPTOTE, WINTER 2021
"HIRONDELLE", CollABORATIVE TRANSLATION WITH LÉNAÏG CARIOU, Point de CHUTE, DECEMBER 2020
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"DEUX TASSES", FrAGILE REVUE DES CRÉATIONS
Translation of LÉNAÏG CARIOU's PoEM "Décorserter"
Visions of Liberty, Rooms With Views. Squaring The Circle: Harriet Hale Woolley, Past & Present
Art Exhibition at the Fondation des États-Unis, (June 6 - July 31, 2018)
Transatlantica, 2018
This article is a critical response to an exhibition held at the Fondation des États-Unis (Cité internationale Universitaire) from June 6th to July 31st 2018 entitled “Squaring The Circle: Harriet Hale Woolley, Past & Present”, which gathered together fourteen past recipients of the Harriet Hale Woolley scholarships in the visual arts. The exhibition focused on the history of the grant and its importance to American artists studying in Paris, as well as what it means to be an American artist living abroad in France. This article takes the pulse of a particular community of artists who are reunited through their work in the exhibition and reflects on their common experience and the dialogue that emerges from their work, and joins them together.
Image: Lucy Kirkman, The Process of Painting (2010)
This article is a critical response to an exhibition held at the Fondation des États-Unis (Cité internationale Universitaire) from June 6th to July 31st 2018 entitled “Squaring The Circle: Harriet Hale Woolley, Past & Present”, which gathered together fourteen past recipients of the Harriet Hale Woolley scholarships in the visual arts. The exhibition focused on the history of the grant and its importance to American artists studying in Paris, as well as what it means to be an American artist living abroad in France. This article takes the pulse of a particular community of artists who are reunited through their work in the exhibition and reflects on their common experience and the dialogue that emerges from their work, and joins them together.
Image: Lucy Kirkman, The Process of Painting (2010)
"For A.F." (part i), Parentheses
summer 2018
"It being summer, "All this about the weather, or the light in the morning", and "P.S." FORTH Magazine, November 2015
& "Nights of Sleeping" in Nº 35.