From the Tatarstan Series. A self-portrait from the Republic of Tatarstan. A fantasy landscape of flowers springs from a pooling rainwater. What I wished my reality to be.

  
The umbrella carries many meanings throughout Asia. There are martial arts forms that use the umbrella for defense. The parasol is one of the eight sacred symbols of the Ashtamangala. In this painting, the umbrella evokes all the protections and wards off evil.

  
2014 marked my first trip to Vitaliy's mother in Tatarstan. The Maiden Revolution had just disrupted Yanukovych 's government in the Ukraine. Russia annexed the Crimean Peninsula after invading it. I was frequently mistaken for a Ukrainian refugee at this time. Vitaliy forbade me to speak English in public.

  
2014 was also the year of the Umbrella Movement in Hong Kong. How far will passive resistance take us? In this self-portrait, I carry my yellow umbrella, my safe house. My imagination creates the flowers that bloom, as walk through a colorful landscape of my own creation. The existing reality was grey.

With my Yellow Umbrella

Created while reflecting on the upcoming Year of the Water Rabbit (2023), this piece was both celebrating and honoring the sexagenary cycle of the Chinese Zodiac. Featuring a white rabbit falling or diving into a body of water. 2023 was a Black Rabbit year, meaning a yin year. Discarding the obvious references, color in this artwork is playful, naive, untethered and mysterious.

  
A yellow sphere in the background can represent both a sun or a moon, alluding to both yin and yang. The rabbit is often associated with the moon in Asia. A Jade Rabbit resides on the moon with Chang'E, the Chinese Moon Goddess. The rabbit's green ears pay homage to this beast, without explicitly depicting the Moon Rabbit who pounds out the elixir of life. The rabbit's usual grace is also discarded. Collapsing into the unknown is the tenor of the time.

Rabbit Year

Performative action and an edition of 6 lithographs
Nida, Lithuania, and Berlin, Germany
50 x 36 cm
2015–2016


A friend told me a story of a conversation he overheard once when he was sailing. Two people were standing on the deck of a boat in the middle of the ocean, looking over the bow, out over the water. One of them turned to the captain and asked, “Where’s sea level?” They were not more than a couple meters from the sea surface, and yet there was an assumption of an absolute sea level that transcended their very real, situated experience of sea level.

Mulling over this question, I built a “high-resolution map-making apparatus” out of wood and acrylic glass. I took it down to the beach, placing it directly on the line between the land and sea. As the waves lapped onto the beach, I traced their limits and accumulated a collection of lines, recording the change in the coastline over the course of one hour. This document was later transcribed as lithographs, etching the fleeting coastline into stone.

Finding Sea Level

C-print mounted on alu-dibond
90 x 73 cm
+
Ink and pencil on paper
6@ 170 x 150 cm

A photograph of a puddle – taken at Cabo de Roca in Portugal – was printed at 1-to-1 scale and then traced and measured with different units of measure, which resulted in radically different totals for the perimeter. This is a cartographic problem known as the “coastline paradox.” The coastline paradox is the counter-intuitive observation that the coastline of a landmass does not have a well-defined length. This results from the fractal-like properties of coastlines. More concretely, the length of the coastline depends on the method used to measure it. Since a landmass has features at all scales, from hundreds of kilometers in size to tiny fractions of a millimeter and below, there is no obvious limit to the size of the smallest feature that should not be measured around, and hence no single well-defined perimeter to the landmass.

For instance, if it were possible to wind an infinitely small measuring tape around every single pebble and grain of sand on an island’s – or puddle’s – perimeter, the coastline’s seemingly finite length would actually unfurl into millions upon millions of kilometers. The more precise mapping becomes, the more challenges it presents to quantification.

Fleeting Sea: Measuring the Coastline of a Puddle

Paint on copper
5 @ 40 x 50 cm
Installation view of exhibition at HilbertRaum, Berlin
2018

Copper is the metal of our telecommunication infrastructure, of our speed. It is also a “native metal,” one that can be pulled directly from the earth with no further transformation. It both possesses a metallic stolidity and is so soft that it can take on organic forms. In this series, the white grid drawn on the surfaces of the copper sheets tightens from field to field. A transformation is underway, from an almost pure copper landscape to a surface more resembling wrinkled paper. Like a map, at first the territory of the copper is marked out and readied for measurement, but as the resolution increases from piece to piece, the dense map lines overtake and obscure the very surface they aim to quantify.

Copper Fields

"The State of Being Indivisible (I want a perfect soul)" is a 5-channel video installation that explores the complexities of personal identity and individuality. Through a combination of video, audio, and 3D elements, the experience explores the intricate interplay between personal identity, gender identity, and the relationship with AI technology.

At its core, the installation revolves around the compelling narrative of Amy Schneider, celebrated for her record-breaking winning streak on Jeopardy!. Daily video clips offer intimate insights into Schneider’s life, with a 42-channel composite video spotlighting trivia snippets from her remarkable 40-day reign, illuminating the facets that define her as an individual.

Drawing from Amy’s self-described facts, viewers connect with her on a personal level, while a 27-minute audio track interweaves ideas of individuality, incorporating motivational speakers, spiritualists, and samples from "Ex-Machina" and "Synecdoche, New York" soundtracks. The project also leverages the concept of “41 facts,” inspiring three unique scripts generated through AI technology. Presented in a game show-like setting, these scripts vividly portray distinct versions of the individual, challenging viewers to reflect on the fluidity of personal identity and the influence of external interpretations, while examining the complexities of identity in our technologically evolving world.

The State of Being Indivisible (I want a perfect soul)

Abstract figure holding a crescent moon-shaped umbrella. The umbrella's shaft alludes to a candy cane, or barber shop pole. The shapes behind her are elusive. Is it a black bull, or the umbrella's handle? Illegible words are pushed back into the underpainting. The figure stands firm in a protected sphere under a chaotic red sky. 

  

Warrior Princess

In this painting, a bathing beauty in carnival attire dons a phoenix headdress. She gazes out at the sea in the distance. The fantasy landscape before her could be scenes from the book in her hands. The intent is to evoke the feeling of relaxation, as one enjoys leisurely reading a novel in the sand. Phoenix like creatures orbit through this image, carrying a life form that hatches from an egg.

  
The Phoenix traditionally refers to the Chinese Empress. The beach imagery, carnival spirit, and phantasmagoric organisms floating through space are reflections both of my past heritage and my current environment. 

  
The Phoenix series is my homage to my Po Po. My grandmother was one of three sisters: Jade Phoenix, Golden Phoenix and Lucky Phoenix. She was the Lucky Phoenix and indeed, her luck will probably endure for seven generations. She escaped the Japanese during WWII. She managed to make it to New York with her entire family. She lived to 101\. She left a legacy in her family that she will be long remembered. 9 of her 10 great-grandchildren met and remember her. 

  
The cycle of life emerges from this painting.
  
  

Phoenix on the Beach

Abstract waterscape.

This monoprint alludes to a pond, foliage and reflections floating on its surface. Twin carp swim in the center. One suspiciously resembles a bird of paradise.

This piece reminded me of my godson's backyard pond in Brooklyn, that he built with his father. I was amazed the carp survived the cold winter environment. Perhaps because they had each other?

Adam's Koi Pond

Abstract still life, flowers

My mother was suffered for years with a terminal illness. During this time of her decline, and after her passing, I must have painted thousands of flowers. It was my therapy and my thin thread of sanity out of a tunnel of grief. I am so grateful for the comfort of flowers.

The Comfort of Flowers

Fauvist and simplistic abstract landscape.

  
This painting depicts Rue du Haut in Orquevaux, France, a walk to the village peak that I did every day during my February Residency in 2022\. The world was opening after two long years of pandemic living. Russia attacked Ukraine. 

  
It is impossible to close my eyes to the horrors. When I feel helpless, I walk, and paint clouds. Up up up.

Above Orquevaux

Shine is a mixed media combination of pen and ink drawings with colored paper, cut paper, ink washes. The fox in its den, the acorn above. Does the fox dream of acorns, or is the acorn a seed heralding the coming of a new year? Winter birch trees in the background with a snowy landscape echo the stark, crisp cold. 

Shine

Jade Teapot with Cherry Blossom still life. The teapot rests on a reflective surface, a vase with cherry blossoms in the background. 

  
I enjoy drinking tea and painting teas. Tea culture in China runs deep. My grandfather was a tea importer for a time, after they returned to the U.S. during WWII. When I met Vitaliy, I discovered how rich the Russian tea culture was as well. 

  
Tea, in its essence, denotes a restful time, peace, harmony, zen and space for self-reflection.

  
"Where there's tea, there's hope.” \~Sir Arthur Wing Pinero 

  
"With the cup of green tea, I stop the war." \~Thich Nhat Hanh

(This quote also attributed to Paul Reps, Robert Brumet )
  
  

Jade Teapot

Untitled

Loopy

Mouthpiece

Family Scene

Photographer Elizabeth Diawuo's 140th Artwork.
Contact For Work: Elizabethdiawuo1@gmail.com

Photographer Elizabeth Diawuo's 140th Artwork

The photo was taken with a phone on August 10, 2018.
Email: elizabethdiawuo1@gmail.com

Image of Young Man Posing Next to a Red Car

The photo was taken with a phone on August 6, 2018.
Email: elizabethdiawuo1@gmail.com

Image Of Young Man Shopping At A Clothing Store

This life, the happiest times are when I hang out with friends, and this is a picture of a group of British friends, I took it and named it 'Images Of Young Men Posing With Umbrellas'
Taken by photographer Elizabeth Diawuo on July 20, 2020.
Communications:
Investor: Elizabeth Diawuo
Mailing address:  74 Bootham Terrace, Redditch, United Kingdom
Email: elizabethdiawuo1@gmail.com
Do not reup in any form.

Images Of Young Men Posing With Umbrellas - 2020

I took this picture with the model as my client. The photo was taken October 15, 2020 and I named "Beautiful Girl Portrait Image".

Contact me:
My name: Elizabeth Diawuo
Email: elizabethdiawuo1@gmail.com
Mailing address: 74 Bootham Terrace, Redditch, United Kingdom
Phone: 079 4872 3282

Copyright 2020 by Elizabeth Diawuo. Do not reup in any form

Beautiful Girl Portrait Image - 2020

“Getaway” is a 10 channel video installation that explores various identities and meanings of the word getaway. The project uses the backdrop of a tragic event that occurred at the Everglades in the mid-1990s to explore a misinterpreted land. The installation features a 30 minute audio track that includes the song “Getaway” written by Walter Hyatt. A cover of the song was commissioned for the project from the U.K. based musician, Francis Lung. The audio track also features a new interpretation of the song “Love” by Mica Levi from the film “Under the Skin” to match the speed of the slow motion in the video. The videos enable the viewer to take a cinematic journey through the land focusing on escape, death, and disappearance while the audio track explores leaving society, and the idea of humans as individuals in the vast landscape of the universe. 

 The exhibition includes a short publication titled “Getaway” that is an additional component of the experience. The publication includes a narrative story by the Northern Irish writer Brian Wilson. The narrative was generated from a web based project called “They Walk Amongst Us”. The writer was given no information other than what was available on the website (theywalkamongstus.org) to generate the narrative. The content was slowly released over a 10 day period, allowing the information to be gradually absorbed and resulting in another interpretation of getaway. 

  “Getaway” was produced following a residency at Everglades National Park, 2021, Artists in Residence in Everglades (AIRIE).  

Getaway

Self Portrait 

Play 

They feel 

Flowers cure souls 

Bliss 

Cruel thesis 

Public Humiliation 

Stop speaking 

Bloom

A Brief History of Happiness, HD video,4:30, is a one channel video that is comprised of sampled audio and video from YouTube. It is a 25 channel video composite of various amateur musicians covering the song “Happiness” by Elliott Smith that is combined with audio excepts from motivational speeches and conversations about happiness. The video explores the similarities and differences of the performances while asking the viewer to think about “Happiness”.
 
YouTube has forever changed the landscape of media distribution by opening up the door for all to access, providing a platform for the everyday person to get their content out to millions of viewers. The first cover of the song “Happiness” was uploaded to YouTube on October 9th, 2006 about a year and a half after YouTube was launched. Since then there have been about 65 other covers of the song uploaded by various individuals from different parts of the globe. The video highlights content covering the past 12 years. The project speaks the idea of performance, fame, digital space, the line between professional and amateur.

A Brief History of Happiness

Collective Distance, 1 channel HD video 9 minutes, was conceived out of the 2020 Covid-19 Pandemic. In the project I was interested in hearing from and speaking with people living in Valletta and other areas in Malta to hear the impact of the pandemic on their lives. Since most of the world has experienced some sort of lock down I wanted to hear how a country with a relatively small land mass, that is primarily accessible by plane was effected. The intent was to gather peoples experiences and tie them together in a narrative that creates a collection of perspectives allowing the viewer to find bits and pieces that they can relate to. Globally the pandemic has made people feel somewhat isolated and confined.  The film was created to allow people living thousands of miles apart to be able to experience a journey while allowing them to see that they are not alone by hearing the experiences of others.
 
In the project I created the website CollectiveDistance.org, to collect experiences. The responses from the participants ranged greatly in terms of the overall effects. Many were very content with life, adapting to the changes as they have been put forth by the government while others were using the time to reflect on the future moving towards big life changes. The feedback seems similar to how people in other parts of the world are responding.
 
In the film, I constructed a narrative that is intended to provide a variety of viewpoints which was reflective of the submissions I received. The film in itself is an observation of residents in Malta and their experiences during Covid-19. The film takes an unusual approach in regards to time by setting itself 20 years in the past, observing the pandemic as a future event. The narrative explores the idea of the perception of time with the main character recollecting a story from the past which is now present day.
 
The project was part of the Valletta Cultural Agency’s InnovAIR @home residency program. It was completed in August/September 2020.

Collective Distance

The Symphony of Names : No Man Is An Island, 4 channel composite video with 10 channel audio 13 minute loop, is a video/sound installation by Elizabeth Withstandley. The piece is a collaboration with the Icelandic composer Gunnar Karel Másson, created during a month long residency in 2017 at SÍM in Reykjavik, Iceland.
 
The installation explores individual identity in culture that is not tied to their name as a form of uniqueness. Throughout the world surnames play a large role in ones identity often seen as an identifier providing cultural and familial history. Icelandic surnames are not used in the same manner, making it a unique culture to explore identity and naming. The project uses a modern interpretation of “the symphony” using the human voice as the primary instrument speaking all the Icelandic names with an ambient soundtrack tying the whole experience together.
 
In the video, four different video channels are composited into one view showing a young boy on a journey through the unique countryside of Iceland. We follow the boy while he travels from one screen to the next while being surrounded by the sound of the symphony. The audio is a 10 channel track using all 4129 names from the government name list and presents them in a melodic yet slightly chaotic form featuring a variety of Icelandic people reciting the names.

The Symphony of Names : No Man is an Island

Searching for the Miraculous is a trilogy of video/installation works that uses Bas Jan Aders final work, “In Search of the Miraculous”,  as an entry point for a new experiential journey. The works explore identity, time, transcended experiences, and the romantic vision of a quest for something better.  The project uses video, audio, music and sculptural elements to create a contemporary version of the trilogy. It starts with  a cinematic short, then a connected journey between two people and finally concludes with a journey of a glass jar floating across the sea. The project is presented as a 3 channel video installation.
 
Searching for the Miraculous (Part 1: One Day in Death Valley) is a one channel video. The video takes the viewer on a cinematic journey following a young boy through Death Valley.  The narrative is comprised of lines extracted from the films Twelve Monkeys, The Truman Show, Synecdoche, New York, Blue Velvet  Eternal Sunshine of the Spotless Mind, No Such Thing, Brazil, The Time Machine (1960), Solaris (1971), Starman, and Big Fish. The film questions reality by confronting the viewer directly asking if this is real.  The main character is a young boy which appears to be the younger possibly wiser self of the enlightened character. While seemingly quite dark he leads us on a journey through cinema with his sampled lines that push us towards the quest for something better. The desolate landscape is shot almost entirely during the “magic hour” which builds upon the romanticism of the piece. We are left with the ocean which is where Part 2 begins.
 
Searching for the Miraculous (Part 2: The Journey) is a connected transatlantic voyage shared between two people; an artist and a musician. The project started with a postcard that was sent to 50 people at the onset of the journey on July 9, 2019, 44 years to the day after Ader left from Cape Cod, Massachusetts. The video displays multiple views of the connected journey through a number of composited screens shown simultaneously, giving the viewer a glimpse of the whole experience at once.  In the piece the artist completes Ader’s transatlantic journey by departing from Newark, New Jersey to Liverpool, England on a 10 day boat voyage and then traveling on to Cushendall, Northern Ireland. During the journey the musician, Jordan Lee from the band Mutual Benefit, created a score for the video based on the communication he received from the artist during the journey. The piece references elements of Ader’s original project (the ocean and the choir), while creating a new narrative from the connected journey. The videos glide through the seascape/landscape allowing the viewer to feel like they are part of the experience while exploring time and the transcended experience of the voyage
 
Searching for the Miraculous (Part 3: The Voyager) focuses on the journey of glass jar floating across the Atlantic while also tying the project to the origin of Bas’ journey, Cape Cod. The video shows a transformation of the character from Part 1 who disappears into the sunset and then follows a glass jar across the Atlantic.  The jar contains a miniature figure of this character with a map of Ader’s transatlantic journey etched into the glass, which illustrates the starting and end points of his project.  The video explores possible scenarios for the fate the character and his search for the miraculous.
 

Searching for the Miraculous

The Real Brian Wilson, 2 channel HD video with digital artifacts 23 minute loop,  is a community based project created to explore the idea of individuality as it relates to one’s name. It began in late 2015 with the launch of a website (www.TheRealBrianWilson.org) for the Brian Wilsons of the world to interact with and share their own personal story. Through a six month long social media campaign I solicited participation from strangers that had nothing in common other than all sharing the same name. The  installation encompasses a multi channel video presented with a series of artifacts including of hand written letters between Brian Wilson and I.
 
The multi-channel video presents a duality between an individual and a group of Brian Wilsons. One video shows an annual Brian Wilson meeting in which Brian Wilsons of the world meet in Scotland in a sort of ‘self help’ meeting type setting. The narrative in the group meeting uses stories submitted by actual Brian Wilsons through the website and features an actor named Brian Wilson. The other video shows the lone experience of Brian Wilson in Northern Ireland who has stumbled across a radio broadcast of the Brian Wilson meeting. The lone Brian Wilson travels through the unique landscape of Northern Ireland, a country that has been struggling with it’s own identity since it’s inception. Through the video he wrestles with his thoughts on individuality and the impact of his name.
 
The artifacts set up a narrative that enables the viewer to see into the project on another level, providing them with information regarding the “real” Brian Wilson as an active collaborator in the whole project. The piece plays with fact and fiction leaving the viewer wondering what is real and what is contrived in this exploration of individuality.

The Real Brian Wilson

You Can Not Be Replaced, 2 HD videos, 5 minute 24 second loop, is a two channel video installation featuring images of all 82 current and former members of the Dallas choral symphonic rock band, The Polyphonic Spree. The video is accompanied by an audio track that combines ambient cosmic recordings, spoken word and partial renditions of the Polyphonic Spree song It’s the Sun performed by former band members
Andrew Tinker and Corn Mo.
 
The band itself was formed in 2000 and over that time people have come in and out of the band, some calling it almost a rite of passage in the Dallas music scene. In the piece, the band members are represented in their signature stage-ware of a white robe, giving them a cult-like appearance.  Although the musicians have each brought something unique to this band, the sheer number of them forces one to ask the question, who are they? Are they memorable? Unique? Individual? The series recognizes and questions the notion of one’s individual importance as it cycles through a soundtrack leaving one wondering whether they are replaceable.
 
The creation of the project began in the late 2012, when all twenty-two current band members were photographed during a tour stop in Los Angeles.  The next two years were then spend tracking down all sixty former band mates, and traveling to various parts of the country to photograph them.

You Can Not Be Replaced 

"Suured protestid Eestis" on Elizabeth Cletuse tehtud foto, mis postitati 23. juunil 2019.

Ärikontakt:
Meil: cletus192@hotmail.com

- Palun ärge kopeerige ega kasutage minu fotot ise!
- Copyright © 2019 by Elizabeth Cletuse

Suured protestid Eestis

Snow grooves is a reconstructed image of a tree during a Viennese winter day, revealing its beautiful mosaic patterned bark. This image of the tree is reconstructed with 6 images, taken at different levels of the length of the tree.

Snow grooves

Kayaking around a small island in the bay of the city to spectate the city on the other shore through the curtains of this huge ancient tree. 

Kayaking through the night

Remove the background from your image to see the glitch in the system that we live in today.

The Glitch

The Blackhole is a kaleidoscopic image of sunlight passing through 2 thin transparent layers of a plastic pouch, that carried the cutlery (also plastic). Light shines bright, cutting through its particle to reveal a distinct pattern, but little does it know, that this material is non-degradable. The Blackhole represents the truth of our ignorance, the end we don’t imagine.

The Blackhole

It was a packaging box, used to keep the heat out during summer, from affecting the quality of the products inside. This was during my time in India. Though I was satisfied with the delivery, I was confused on how to discard the Thermocol box. Due to low to no waste management in India, if I trash it, it will end up in some animal’s stomach. So instead of trashing I decided to keep it. Also, it had this beautiful curve and a white background (with some packaging plaster that had to be taken out) for me to work on. And the result was this.

4th Dimension

Trapped behind the bars of wealth

The Beach

Morning Blues

In the depth of Ocean

I don’t know how about you but I’m so impatient for all trees to leaf up again.
So as I’m craving the fresh green today here is a stained glass design inspired by William Morris for the beautiful arched door of a London period home. 
Glass is such giving material not only to an artist to work with but also to people who see it every day.

Fabrication techniques : Hand cut and painted glass, decorated with vitreous enamel and leaded. 


Leafing Up

Nuclear is centered around the fractured the obscured bodies and liminal identities of women, queers and crossdressers of the American South (Texas, Louisiana, Georgia). My hope is not just to document the lives of marginalized communities that I see my own reflection in, but to create an intimate bond with them using the lens as a gluing agent.  
I make a point of working with amateur models — people who have never seen themselves as aesthetic subjects before — while understanding that by entering marginalized communities how easily the relationship could turn touristic, even colonial, without giving my subjects compensation and credit for their time and effort. I see my models more as collaborators than objects and whose security, privacy and dignity I have a responsibility to protect.
My visual work takes body parts — that are so often misrepresented in media as solely objects of desire — and intentionally robs them of their sensuousness in order to challenge the stale and toxic tradition of the typical nude image created not for the sake of the model but for the beholder. In its place, I offer a nakedness that is devoid of any moral posturing, a simple matter of fact that allows subjects to feel safe and secure in their own skin. That is why I use obscuring environments, shadowed angles and unclear shapes to confuse the viewer, robbing them of the usual markers that prompt them to equate nakedness with an instant sexual urge.


Nuclear

Russian taunt is a dive into a searing red hot world of Russian queer communities emphasizing the interrelation between the personal and the social in a monochromatic world where queer desires also inadvertently but crucially embody political gestures. 
Being a queer woman who immigrated to the USA following the conservative changes in my home country, I feel it is important not to create more possibly exploitative work about discrimination or queer suffering but to make art focused on the dichotomy of sexuality and nakedness through the lens of the queer femme gaze. My hope is not just to document the lives of marginalized communities that I see my own reflection in, but to create an intimate bond with them using the lens as a gluing agent. 

Russian taunt

Using locks of dark hair as tools to create negative space, together with a disjointed timeline, blurs, dissolves, and glitches this vignette explores ideas of "queering spaces" and baptizing through queerness while disorienting the audience and liberating the heroine from the possessive gaze of the viewer. 

This woman's work

A vignette exploring the autonomy of a semi-nude female body stuck in a snowstorm and the hostile role of the camera and the cameraperson that results in an aggressive roundelay and a chase set against a backdrop of a monochrome winter landscape. 

Stalk

Forest Glass Blinds, commissioned by a private residence in Geneva. 

Prior it's permanent installation in Geneva I've shown Forest at 53 Degrees North at a fabulous exhibition space - New School House Gallery, York - where the public voted Forest their most favourite piece in the show .

I always enjoy designing glass art for a specific architectural location, which is what already gives my artwork a very useful purpose.  However, combining glass art with an actual function is what really excites me.  That's why I've designed and made Glass Blinds. The piece is not only an aesthetic feature, but also a practical part of a building with its moveable glass louvers constantly tweaking the look and atmosphere of the interior. 
Due to the combination of techniques the panel behaves as a natural light box and remains luminous even on a cloudy day. 
Some of the fabrication methods I've used include hand painting, silk screening,  silver stain and deep etched and surface sandblast. I've also added some fine details hand painted with genuine platinum lustre.

Forest Glass Blinds

Three contemporary stained glass windows for a private Library
My intention was to create a joyous semi-abstract composition offering an uplifting view into the landscape that spans across all three Library windows. The idea came from envisioning one reading a book in a peaceful library while occasionally taking a rest looking into the beautiful landscape.

Along with evoking positive feelings with the viewers, ther artwork as a whole also intends to celebrate colour, movement and light, which is one of the uniquely charming characteristics of stained glass.
The three glass artworks are being hand crafted through meticulous application of contemporary and traditional techniques, some of which didn't change for centuries. 
These delicate and elaborate decorations are displaying outstanding glass painting skills, life long craftsmanship and knowledge of contemporary stained glass. 
The chosen type of glass for this project is the very fine and beautiful Gold Pink Flash glass made through the ancient mouth blown method.
The glass was then hand cut, acid etched, hand painted with vitreous enamels and kiln fired several times. 

Designed by me for Recclesia Ltd

Wonderland 

There is a magical moment when light enters stained glass and, in this particular situ , floods the hallway with heart warming Autumnal colours. 

The glass art is from the series of designs I had the delight to create for one truly charming period home currently being restored.
The client longed for vibrant stained glass featuring some references to the decor, stone carvings on the exterior along with evoking a sense of warm welcome to the family and visitors .

The beautiful mouth blown glass ( Gold Pink Flash ) was hand cut, acid etched, silver stained, hand painted with vitreous enamels, kiln fired several times and finally leaded and weather proofed. 


Designed by me for Recclesia Ltd.



Autumnal Light 

The water in Lake Life was created using a fluid acrylic pour technique, once dry a dock and kayaks were hand painted with heavy body acrylic to enhance the pour. Lake Life is one of 60 works selected for the traveling 2021 Missouri Art Now: Bicentennial Celebration.

12 in x 16 in on canvas
Frame was handmade by the artist and her husband.

Lake Life

Copper paint on rocks collected from the Baltic Sea coast in Nida, Lithuania; plinth, light fixture
Dimensions variable
Installation view at KN: Raum für Kunst im Kontext, Berlin
2017

Micro-Planetary Territories, I-IX

Cyanotypes mounted on alu-dibond behind acrylic
9@ 10 x 10 cm
Installation view at Horse & Pony, Berlin
Finland, 2016

These are cyanotypes, each made by placing photo-chemically treated paper flat on the earth, laying a line drawing on transparent film over it, and exposing it to sunlight over several minutes. They were made during the vernal equinox in Finland.

Sun Collaborations: Shadows cast by objects high in the sky on the Equinox as the Earth stands up to the Sun

Aerial photographs (1943–2013), courtesy of the Royal Danish Library, Copenhagen, Denmark
C-print mounted on MDF, oil paint
21 x 15 cm
2013–2014

The Birth of a Nameless Island (#9 of 20)

Field studies, drawings, and published artist book
A nameless island, Odense Fjord, Denmark
2013–2016

An expansion of my earlier project measuring a puddle, this research was done with a nameless island in Denmark that had recently emerged from the sea. Measurements were made with rope, thumbs, hands, and arm’s lengths. Again, using different units of measure generated many different perimeter totals. Even establishing the boundary between land and sea was not so easy – my team and I were relentlessly foiled by the fickle shoreline, its tiny, vulnerable perimeter made dramatically dynamic by the tides, waves, and rotting seaweed. Here, the fieldwork, on one hand, fell apart as science and, on the other hand, emerged as ontological situation, framing paradoxes of empiricism and imperialism: Cartography’s legacy of human empire and knowledge was momentarily dissolved in the relationship of body to shore, in a collapse of map and territory.

The Coastline Paradox: Measuring a Nameless Island

Cyanotype on watercolor paper in acrylic box frame
100 x 100 cm
Installation view at Horse & Pony, Berlin
2016


Made by placing photo-chemically treated paper flat on the earth and exposing it to natural sunlight over several minutes while floating and turning a black square over the center, Floater is like an oversized cyan pixel, wherein an old photographic printing technique calls up the particulate-matter of the digital realm. Cyan is both the chemically-expressed color of the cyanotype process and the artificial color of the oceans of satellite mapping, a la CMYK. The spatial nature of the photo-process itself suggests a collapse of the space between the sun and the paper, the sky and ground. The title Floater also refers to “eye floaters,” which are shapes in a person’s vision that seem to float away when the person tries to look directly at them, caused by gel-like fluid in the eye itself.


Floater

Iron, wood, radiometer, and light fixture
25 x 145 x 125 cm
2017


A low lamp affects a radiometer (a device that measures the radiant flux of electromagnetic radiation), causing the four black squares inside the airtight partial-vacuum bulb to spin. The phenomenon is described by scientists as the “black squares retreating from the light,” a phrase that, recontextualized, recalls Malevich.

Black Squares in Retreat

Ink on Arches watercolor paper
Each approx. 42 x 29.7 cm
2020

The “rule” for these vector drawings is that first a main shape is drawn, which becomes the target for the vectors in the drawing. Then, all the vectors depart from a fixed line (whether straight or curved). When each vector arrives at the boundary of the shape, it bounces off the local tangent at a precise, predetermined billiard angle. Therefore, the angles and overlapping of lines in the drawings are predetermined by the system; once the vector departs its source, the system dictates how it will interact with the shape. The directions of the lines are indicated by small arrows.

This series is an attempt to measure, not landscapes, but landshapes: geometrical shapes as terrain. Sounding Landshapes is related to other projects of mine investigating cartography, and has been developed alongside my conceptual structure of “andscapes.”
 
Landshapes exist in the two-dimensional world of drawing. Landshapes are forms in their own right; drawn lines act on and react to them as phenomena rather than representations. Landshapes acknowledge the drawing artifact itself as terrain, as operational, as landscape where action happens. Landshapes are not just sketches of experiments, but are experiments unto themselves. Landshapes are generative. Landshapes are defiant in their flatness.

(Please note that most of these images are central details of the drawings, around which there is a lot of white space.)

Sounding Landshapes

Creating collage work with a minimalist approach. I enjoy creating something in that moment with no preconceived notions. Finding pictures that fit together from a scrap box leaves everything to chance. This is what makes creating collages worth while, finding beauty in the most weird places. 

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Elizabeth Palm

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