The series takes its title from three chapters of Andrei Rublev: The Flight, The Last Judgment, The Bell. Tarkovsky’s film matters to me as an instance of reality’s logic breaking open through an effort beyond measure - the leap of the flying man, Rublev’s release from his vow of silence, and the blind faith of the boy casting the bell.

What interests me is the moment before: the second before the norm is breached. At that point, the anticipation of a miracle outweighs its fulfillment. Disobedience, here, is a suspended instant between the everyday and the Event, a refusal to fit the customary logic of normativity. It is also a calm, quiet gaze fixed on a miracle approaching the edge of catastrophe.

Plain Language: This project is about the second before deciding to do something impossible - as in Tarkovsky’s film Andrei Rublev.

Plain Language: This project is about the second before deciding to do something impossible - as in Tarkovsky’s film Andrei Rublev.

Here I continue to study effort beyond measure through the experience of motherhood. I set the boy’s private feat of casting the bell in Tarkovsky’s Rublev alongside another private feat: a woman giving birth against the fear of anomaly.

The series includes the autobiographical work The Delivery Room, in which an obsessive scrutiny of a child’s face becomes a point of radical acceptance - a point of disobedience, a departure from norm, rule, and logic.

In the three works of the Screening series, I record the indistinct, deformed faces of infants, granting them the right to exist, and to exist outside expectation. Screening is a medical examination intended to detect fetal pathology. It functions as an apparatus of control, blind to human vulnerability, searching only for an error in the algorithm.

Plain Language: These are paintings about radical acceptance of a child as a miracle of life