“In the beginning was the word . . .”

But what if you were unable to read it? As an artist who is dyslexic, I explore the worlds of illegibility and inaccessibility. I see my work as a visual branch of semiotics – the theory and study of signs and symbols. I’m interested in the relationship between words and images. I’m drawn to investigate the multiple connections linking images with the objects we experience and with the words we use to understand that experience.

According to the deconstructionist framework championed by Jacques Derrida, nothing can be rationalized without the words to describe it. With that in mind, we can see why Robert Rauschenberg’s “Monogram” was not understood until he created the term “combine” to describe it. Alexander Calder’s use of the word “mobile” facilitates the viewer’s understanding of the artist’s intention. Similarly I use the term “literary abstraction” to describe my conceptual process.

I approach literature from the perspective of a person who cannot read or who does not have access to written material. In my art the book becomes an iconic figure, representing not only itself but also the history of the written word. At times the body of text becomes, symbolically, a living body.

My work embraces contradictions both formally and conceptually. I combine materials hard and soft. Conceptually, I explore the tension between art – understood as an emotional or visceral reaction – and the intellectual comprehension of a literary concept. By combining the logic embedded in language with the irrationality of thinking without words, my work engages questions about how we understand the world.