The title of this piece refers to an actu­al event. My apart­ment stu­dio over­looks the Hud­son on one side and faces an expan­sive view of the Empire State Build­ing on the oth­er. Ear­ly one morn­ing I was awak­ened and star­tled by a bird which had entered my open win­dow and stood squawk­ing on the ledge near my head. When I reached to open the heavy cur­tains and see who had dis­turbed my sleep, I touched the bird — which flew off star­tled before I could see what he looked like. The arrival of this bird of unknown shape and form seemed a pow­er­ful sign or prophet­ic warn­ing, par­tic­u­lar­ly so soon after 9/11 which I had wit­nessed from my roof.

The images of this piece, then, should be under­stood as a spec­u­la­tion on the mean­ing of the vis­i­ta­tion. The appear­ance of the bird, the light in the image, and mood of the urban back­ground shift and alter in the series. The bird’s char­ac­ter ranges from that of a gen­tle mes­sen­ger to an angry prophet.

A selec­tion from a larg­er series.
Foto-pro­jec­tions, 20“x24”.



cat. essay Pao­lo Bar­baro, Gazzetta di Parma

The result­ing images, evoca­tive frag­ments with con­cen­tric the­atri­cal allu­sions, are dis­tilled from a larg­er sto­ry, a kind of con­cep­tu­al narrative..Many of the prints have an har­mo­nious palette of oxi­dized sien­as and blues rem­i­nis­cent of worn pplas­ter walls that hint at sto­ries hid­den with­in the lay­ers. Each series is a med­i­ta­tion on a theme inti­mat­ed by a metaphor­i­cal title, and each reg­is­ters a kind of per­son­al hand­writ­ing, one which reveals her unique visi­ion.” Pao­lo Barbaro