≡ My two passions ≡

© Ana Teresa Barboza, Untitled (?). Images via ArtNau. A friend called my attention to Ana Teresa Barboza‘s work (Lima, Peru, 1981). A good friend, I should say, for she knows how I’m drawn to mixed techniques applied to photography, specially when it involves some sort of sewing. Ana Teresa’s work is anything but simple, though…

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٠ Adrienne Doig and the Cliché ٠

© Adrienne Doig, Feminist Cliché (Dresden Plate), 2012. Patchwork, appliqué and embroidery on linen, 99 x 77 cm. excerpts from Lynn Berger‘s SNAPSHOTS, or: Visual Culture’s Clichés, published in Photographies Vol.4, No.2, September 2011, pp.175–190. “We use the word “cliché” advisedly. As it happens, the genealogies of the cliché — an “expression or idea that…

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┐ Sara Rahbar └

© Sara Rahbar, Untitled, from the series Love arrived & How red, photography, 2008 © Sara Rahbar, Trapped in Dark Night with Nowhere to Run, I Have Died a Million Times Every Night in this Bed (left) + Kurdistan Flag #5 (right), from the series Flags, mixed media + textiles, 2005-2010 © Sara Rahbar, Solitary…

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┐ Sabrina Gschwandtner └

© Sabrina Gschwandtner, Hula Hoop, 16 mm film, polyamide thread, 2010. Watch & See exhibition, Gustavsbergs Konsthall, Sweden, 2009. © Sabrina Gschwandtner, Quilts in Women’s Lives (left) and What is a Dress (right), 16 mm film, polyamide thread, cotton thread, 2009 “My quilts utilize film footage from early Feminist documentaries. I re-work these narratives by…

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┐ Julie Cockburn └

© Julie Cockburn, The Veil, Embroidery on found photograph, 2011 © Julie Cockburn, The Astronaut, Embroidery on found photograph, 2011 “The loss of, or manipulation of, the human face is the most disturbing and fascinating aspect of Cockburn’s work. These faceless or masked portraits me of John Baldessari’s manipulated mass-media images. He often used colored…

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┐ Elizabeth Ingraham └

© Elizabeth Ingraham, Resilience, from the series Skins “My subject is skin: flexible and emotive, superficial but essential, protective but vulnerable. A boundary. A border. A membrane. An organ. A commodity. A pelt. In this on-going series of work, I am exploring how expectation, desire and convention—our own and others—form casings which shape our deepest…

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