Shown at Angell Gallery, this multi-part installation from 1996 features scraped-back, charred images of my close female friends' hands interpreting Michael Baxandall's explanation of the iconographic program used in Italian Renaissance depictions of the Annunciation. These images sit suspended several centimeters above Stephen Spender's translation of Rainer Maria Rilke's sonnet cycle Life of the Virgin Mary. They address familial loss; a typology of private and public pain.
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