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Veröffentlicht Pauline Kuhl | Montag, 25. September 2017

Signed on the back cover by the artist. I have moved many times - I've had 11 homes - so I started to redefine for myself the idea and the meaning of the home, examining my own nomadic life. They are hands or hugs comprised of air and ink and paper through which Wehr suggests at once the fragility and endurance of our bonds. The book is a comment on the human urge of producing more and more objects that are periodically discarded to change a part of the land into a gigantic accumulation of garbage. A plastic chocolate wrapper, curled at the top into a rooflike peak, speaks of other means toward comfort. Mixed media with found metal objects sewn with linen thread onto linen from Poland pages.

Handsewn binding in encaustic wrappers. The objects are fragments—miscellaneous, disembodied machine parts, nails, thumbtacks, etc. A group of them is stitched next to each other on the first page, to cover its bottom, creating a landscape of discarded items. Using found objects—including metal fragments of various and intriguing shapes, bits of paper, cloth and leaves—Wehr constructs collage images that resemble a child's rendering of a house. But there is more to meaning here than understanding a single language. In the center of the frayed cloth, secured with large stitches, is a rusted artifact.

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Explanations of how the conflict and peacebuilding fields' fundamental building blocks can help with both intractable and tractable conflicts. I try to combine two different experiences from two different worlds in this 'in between' situation. Inkjet printed, carousel accordion.

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As globalization proceeds and local bonds are eroded, identification documentation such as passports, credit cards, drivers' licenses and calling cards has become the physical medium in which the political, commercial, cultural and ultimately the spiritual disposition of the individual are negotiated. In this instance Wehr uses these images to link the two cultures that she bridges - her origins in Poland and her current home in Arizona. Archival ink jet print.

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The hands suggest creation, manipulation of the environment born of curiosity and need that grew, ultimately, into manufactured objects, literally manu factum in Latin, made by hand. My books are usually bilingual, or semi-bilingual and I often mix images with writing, pieces of newspapers, found objects and other elements reflecting the everyday life in Tucson as well as my links to Poland. Finally, she attempts to wed the two worlds via computer graphics.

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The tension level was very high. Reminiscent of a greeting card one would receive in the mail — collages of a Polish letter stamp and an US post stamp, of the postal office AIR MAIL stamp, and bits and pieces of text that might be found on packages or letters. One day I removed the intensely colored seventies wallpaper and examined what was on a backside. Hand printed titles, date, and artist name on back cover. Her work reflects that adjustment between two worlds and visions of life. So we got everyone in the same room, the agreement for every single party to sign on to it and I brought along a bottle of champagne.

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I have used these pieces in many of my works dealing with issues of time and transience. Constructive Confrontation Initiative This Spring, please join us in an effort to reduce the destructiveness of today's bitter political confrontations. Wehr's Paszport is one of more than bookworks in the exhibition. The lines allude to the text recording thoughts and events. Time and transience are very important factors in our life, and this why I am choosing them as a subject. This rough transcript provides a text alternative to audio.

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Mixed media on Polish linen. A map of the world gives way to maps of two cities, followed by dual envelopes with return addresses in Warsaw and Tucson. The images are divided unevenly — torso and head above; torso, legs and feet below.

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I created a second, related book at the same time entitled ' Vertical Stories. What story do they tell? So communication was a major part of this agreement in other words, how were going to communicate with one another. The pages depict images of such tray pads with found, rusted objects affixed to them - the simultaneous decay of life. The hands suggest creation, manipulation of the environment born of curiosity and need that grew, ultimately, into manufactured objects, literally manu factum in Latin, made by hand.

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It is abstracted, so viewers can fill the lines with their own ideas and memories. From this one-of-a-kind piece Wehr produced a digital limited edition version in I am trying to capture chunks of time comparing different periods of my life, recording transience by creating journal-like books, time lines, letters from the past, calendars The stamped front of an envelope and the back flap are universally evocative, as is the image of a kite as symbol of both being airborne and of the ether that inextricably unites us no matter the distance. The communication was just horrible.

And while this book reminds us of that fact, it also encourages us to partake of the sweetness, perhaps at the same moment. Handsewn binding in encaustic wrappers. I had to tame the house to make it my home.

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Explanations of how the conflict and peacebuilding fields' fundamental building blocks can help with both intractable and tractable conflicts. Click image for more. That was about five years ago. Signed and numbered by the artist. This is a small version of my Polish linen books. The resulting international traveling exhibition reflects a contemporary spectrum of issues of identity and the impact of its documentation.

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Others are more familiar, like a single mitten clip for a child's coat, a small pulley, a rusted nail. Hand-printed title, artist name and other information on back page. In her recent work, she explores themes related to her experience as a Pole living in the United States. Wehr cut the canvas into oblong pieces that became the pages of this artists' book and used thread to attach metals objects she had found in the desert near her home in Tucson. I carefully selected the materials to work with: It could be read [like] a story and with a little bit of imagination some of the secrets seem to be revealed.

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The only text in each is its title, but all twelve titles — or do we just assume they are titles -- are listed only on the last page of this collection. I hope that those who are not from this culture can relate to the problem, and those who are from here will be more aware of it — especially in that it also relates to migration and the feeling of dislocation which is an experience many Americans encounter. I carefully selected the materials to work with: The suggested narrative on each page relates to them as well as to the street. The random gouache marks became pages of abstract landscapes that we can travel through.

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In lightweight paper slipcase. The hand written text says: I want my viewers who will not understand part of the text to experience the difficulties with comprehension.

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