Conceptually, the Gardens take Mark Danner’s 2007 semi­nal essay “Iraq: The War of the Imagination” as a point of depar­ture. Reinventing the armed encoun­ters between our cultures outside all polit­i­cal para­digms, erotic figures erupt into an imag­ined terrain of splen­dor in Muhammad al-Idrisi’s lost mappa mundi, The Garden of Joys. Boundaries between lovers, gardens, and maps dissolve.  Thus The Last Judgment ends with making love, not war.

The draw­ing is liter­ally burned into the surface of deli­cate hand­made papers. In places, the drawn marks char completely through the support, empha­siz­ing the fragility of the unify­ing surface. Watercolor accents visu­ally cool off this blis­ter­ing effect.