All that is visible must grow beyond itself, extend into the realm of the invisible.
– from the I Ching, or Book of Changes
About three years ago, a close friend of mine was diagnosed with a reoccurrence of a terminal form of cancer. The news hit me like a punch to the gut, throwing me back into myself. I was struck by my need to find evidence of, and believe in, the invisible and intangible world as opposed to the stuff of day to day existence. The images in Inanna started as a response to this need and attempt to examine and synthesize these two realities.
Inanna is named after one of the oldest world myths describing the cycle of death and rebirth. Her story combines the physical (disembodiment) and spirit (re-embodiment) worlds in a tale that has been repeated, with different main characters, across time and multiple cultures worldwide.
I use a self-portrait as the basis for each image, exploring different aspects of my invisible self– my personal history, fears, beliefs and ideals. The method of layering photographs with drawing is a metaphor representing my best efforts at synthesis, the drawings acting like grafitti on a wall, altering and extending their photographic foundations. Quirky and imperfect, their intricacy invites a closer look, creating an opening through which the viewer can make their own connections with the work via their individual life experience.