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“Calligraffiti”
2004
34” W x 45” H
$800
Calligraphic decorations in Far Eastern and Islamic traditions, and figures on rugs of the Ersari tribe of Central Asia, suggested the curved, rhythmic motifs of this piece.
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“Calligraffiti II”
2003
50.75” W x 40.5” H
NFS
In Paul Simon’s song of the Seventies, “The Sounds of Silence,” the “words of the prophets are written on the subway walls and tenement halls,” as graffiti. The motifs here are from the same source as “Calligraffiti.”
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“Regalia”
2003
24.5” W x 45” H
NFS
Inspired by a Moroccan tribal rug design, African ceremonial shields, leopard skins and Tibetan prayer flags.
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“Razzle Dazzle”
2003
37” W x 29” H
Sold
Bright zigzag “eye dazzler” designs appear in weavings from cultures as far apart as Turkey and the American Southwest. Here, I combined the lightning flashes with medallions I admired in carpets from Iran andTurkey.
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“Vessel”
2002
28.5” W x 36” H
Sold
The figure in the center of this piece refers to customary representations of female forms in antique ethnic weavings from Turkey and Iran. It can be read as a woman or as a jar. I placed it against a checkerboard background design like that of some of the “gabbeh” carpets that Iranian tribes make for use in their houses or tents.
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“Ancient Icons”
2000
56” W x 40.5” H
NFS
Inspired in part by a twentieth century saddlebag woven in the south Caucasus, and in part by pre-Columbian weavings from Peru.
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| “Karabagh”
2000
67” W x 48” H
NFS
The motif is a variant of the “tree of life” or “stupa” of traditional Buddhist art, as sometimes seen in weavings from all over the carpet-producing regions of the Middle East and Central Asia. |
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“Glory”
1999
61” W x 47” H
NFS
A Tibetan carpet with endless repeats of the “tree of life” inspired this work. I distorted the design to follow curved vertical lines rather than the straight columns of the original, and I substituted a palette of many colors for the Tibetans’ muted earth tones. |
