STANDING ON THE BONES 2013
Bone meal, glue on on archival digital print on Hahnemühle paper, 5 x 5 inches each, 13 x 13.5 inches framed.
“We are preaching hope, standing on the bones of the past.”
― John Rucyahana, The Bishop of Rwanda: Finding Forgiveness Amidst a Pile of Bones
The white fields in Standing on the Bones project a shocked silence in face of 20th century genocide across time and place, from Nordhausen, Germany in 1945 to Choeung Ek, Cambodia in the 1970’s. A layer of desiccated bone meal covers photographs that document the remains of countless victims — individuals who have been rendered anonymous by brutality, mass graves and the passage of time. Their bones disintegrate as our memory fades, but the cracks in these fields insist upon our remembering. In Leonard Cohen’s moving Anthem, he urges us to forget our “perfect offerings.” He sings: “There is a crack, a crack in everything. That's how the light gets in." We need more cracks … and more light.
Desiccated bone meal covers photographs documenting countless victims of genocide. Their bones disintegrate as memory fades. Leonard Cohen’s Anthem urges us to forget our perfect offerings: There is a crack, a crack in everything. That's how the light gets in. We need more cracks, more light.