Dinor谩 Justice: Entwined
鈥淒uring a recent residency in Vienna I spent time studying Gustav Klimt鈥檚 paintings. His group compositions, especially The Bride, Death and Life, and The Maiden called to me. I saw in them the joy and anguish of being alive; of loving, dying, and changing. The figures twist and fold like windblown petals or eddies in water, movements not unlike those in my marbled surfaces. I allowed his influence to mingle with other inspirations: Brazilian textiles, ornate jewelry, and natural forms embedding ideas of cultural hybridity and the decorative as political.
Underlying all is a belief I hold close: that nature and humanity are not separate. I draw from the wisdom of ecofeminism, which recognizes the parallels between how we treat the Earth and how we treat one another. In every brushstroke and form, I try to reflect a world that honors care over control, harmony over hierarchy. Ecofeminism reminds me that all life is sacred, that we are part of a cycle of birth, growth, death, and renewal.鈥
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鈥淒uring a recent residency in Vienna I spent time studying Gustav Klimt鈥檚 paintings. His group compositions, especially The Bride, Death and Life, and The Maiden called to me. I saw in them the joy and anguish of being alive; of loving, dying, and changing. The figures twist and fold like windblown petals or eddies in water, movements not unlike those in my marbled surfaces. I allowed his influence to mingle with other inspirations: Brazilian textiles, ornate jewelry, and natural forms embedding ideas of cultural hybridity and the decorative as political.
Underlying all is a belief I hold close: that nature and humanity are not separate. I draw from the wisdom of ecofeminism, which recognizes the parallels between how we treat the Earth and how we treat one another. In every brushstroke and form, I try to reflect a world that honors care over control, harmony over hierarchy. Ecofeminism reminds me that all life is sacred, that we are part of a cycle of birth, growth, death, and renewal.鈥
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