Divine Intimations: Contemporary Floral Design for Sacred Spaces
By Visual Art Issue 112
Even John Calvin, who forbade the use of images in worship, waxed eloquent on the beauty of the natural world and the presence of God in the theater of creation. Arranged flowers seem an ideal way to bring that “third book” of God into the sacred space.
Read MoreIn the Studio
By Visual Art Issue 112
I’ve been struck by the immense beauty in the communities I have been a part of, both in Nigeria and now in Canada, as well as grieved by the levels of hardship. The motif of the garden, which I explore in my work, has become a place for me to sit with this contradiction.
Read MoreCurator’s Corner
By Visual Art Issue 111
I have often said that contemporaneity—much like modernity and creativity—does not belong to one race, place, or economy.
Read MorePortraiture and Personhood: Hubbard and Birchler’s Flora
By Visual Art Issue 111
The soundtrack alternates between David speaking about his mother’s life and his memories of her, and a voiceover narration in which Flora recalls her life in Paris. However, a viewer can only watch one side of the screen at a time—either Flora’s or David’s.
Read MoreWorking in the Dark
By Visual Art Issue 111
The heaviness of the questions I was trying to answer demanded a slower pace than photography alone could give me. I began sewing plant material from the farm into prints, and when I put the results in my scanner bed, I discovered that they became illuminated in unique ways, transformed into cosmic-looking abstractions.
Read MoreIn the Studio
By Visual Art Issue 111
I’m crowdsourcing these skills from local weavers and the older women in my family—my grandmothers and aunts—who are now scattered all over the world. They’re sharing stories of various such beds they’d woven or inherited and sending videos and patterns over WhatsApp.
Read MoreCurator’s Corner
By Visual Art Issue 110
Lasting images go beyond the simple act of documenting a moment by demanding a response from the viewer. The viewer reacts at a much deeper level, like we do to smell, but with the eyes.
Read MoreRelational Cartography: Photographing the Landscape of Redlining
By Visual Art Issue 110
We get the crap… If you get white people over here, then they’ll start making the produce look worthy… It shouldn’t be like that. This is our city… We care just as much about our kids, just as much as the white people out there in Williamsville, Amherst, and other surrounding areas… Why can’t our kids see the same things?
Read MoreIn the Studio
By Visual Art Issue 110
I cut a hole in the ice each winter, an extraordinary black trapezoid—“avanto” in Finnish—intended for the bracing plunge to follow the extreme heat of the Finnish sauna. The shape carries so much personal meaning.
Read MoreThe Day of Big Trouble
By Fiction Visual Art Issue 110
How a thing looked was important. Not just Is it useful, but Is it nice to look at. Trees made fruit, and fruit is useful, he’d said to Zeke. But before fruit comes flowers, and there’s not a thing to be done with them but look.
Read More