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I carry all the names I’m given

I carry all the names I’m given


Curada por Laura Orozco
Arroniz Arte Contemporáneo
CDMX México
Febrero – Abril 2022

I carry all the names I’m given


Curada por Laura Orozco
Arroniz Arte Contemporáneo
CDMX México
Febrero – Abril 2022

I Carry All the Names I am Given, the title of Fabiola Menchelli’s solo show at the Arróniz gallery, presents a series of the same name that materially and discursively disrupts the photographic object through its interaction with other cultural practices. Folding implies an irremediable aggression against the medium, which generally appears as a smooth, continuous and two-dimensional surface. However, photography appears and is due to the transition between its opposites: negative and positive, visible and invisible, real and fiction, digital and analog, liquid and solid, etc.

In this exhibition, the works come from analogous methodologies that require a prolonged time and an artisanal approach, intertwined with scientific knowledge. The artist folds and unfolds the photosensitive paper and exposes it to different temporalities of light exposed through various color filters. It is the same paper that provides the abstract forms that we see recorded in the piece. The sheet works as a support and tool for creating its own image. Generating these folds and breaks forces the frame to lose its usual state, opting instead for an object version, haptic, full of gestures, details and errors; it goes against its reproducible nature, and becomes unique. Photography in its most material but elusive character, concrete but indefinable, rigorous but imperfect, favors the deconstruction of its own system and expected functionality.

The photograms take various scales in relation to the human body, and are experienced beyond the limits of photographic paper, leaving aside their individual quality to merge with the other pieces, with the space and with the support that holds them. Therefore, they are works whose borders are difficult to define. There is an interaction between the fragments, between the start and end of each fold, line or limit. But there is also a break in visual sequentiality, generating something else, a passage between the frame and the object, the image and the sculpture. Repetition, after all, is visibility and certainty, here the irruption and the difference make it impossible to follow a traced path.

– Laura Orozco

 

Fabiola Menchelli
All colours will agree in the dark, 2022
Unique C-Print folded inside wood frame with Ultravue-glass 70 UV
20×27 in / 51×69 cm
Fabiola Menchelli
Left and my other left, 2022
Unique C-Print folded inside wood frame with Ultravue-glass 70 UV
20 x 24 in / 51 x 61.5 cm each
Fabiola Menchelli
Your North is not Mine, 2022
Unique C-Print photogram folded inside
wood frame, with Ultra 70% UV Glass
print dimensions 16 x 10 in / 51 x 25.4 cm

Fabiola Menchelli
Crumbling is not an instant, 2022
Unique C-Print folded inside wood frame with Ultravue-glass 70 UV
16 x 20 in / 51 x 39 cm

Fabiola Menchelli
Your demon in my inner ear, 2022
Unique C-Print folded inside wood frame with Ultravue-glass 70 UV
20 x 24 in / 51 x 61.5 cm
Fabiola Menchelli
Taste of pinching silence, 2022
Unique C-Print folded inside wood frame with Ultravue-glass 70 UV
8 x 10 in / 20 x 25 cm
Fabiola Menchelli
a thing with feathers, 2022
Unique C-Print folded inside wood frame with Ultravue-glass 70 UV
8 x 21 in / 27.3 x 32.4 cm
Fabiola Menchelli
blind blue sound, 2022
Unique C-Print folded inside wood frame with Ultravue-glass 70 UV
20 x 26 in / 51 x 66 cm each
Fabiola Menchelli To Witness the falling sky, 2022 Unique C-Print folded inside wood frame with Ultravue-glass 70 UV 16 x 20 in / 48.1 x 58.3 cm
Fabiola Menchelli
we are not supposed to be seen, 2022
Unique C-Print folded inside wood frame with Ultravue-glass 70 UV
16 x 20 in / 51 x 39 cm
Fabiola Menchelli
The liquid skin of the world, 2022
Unique C-Print folded inside wood frame with Ultravue-glass 70 UV
8 x 10 in / 20 x 25 cm
Fabiola Menchelli
Water was never afraid to touch you, 2022
Unique C-Print folded inside wood frame with Ultravue-glass 70 UV
8 x 10 in / 20 x 25 cm
Fabiola Menchelli
Tell all the truth, 2022
Unique C-Print folded inside wood frame with Ultravue-glass 70 UV
16 x 20 in / 48.1 x 58.3 cm
Fabiola Menchelli
Tie it gently to the exit wound, 2022
Unique C-Print photogram folded inside wood frame, with Ultravue-glass 70 UV
8 x 10 in / 20.32 x 25.4 cm print
Fabiola Menchelli
To time the end, 2022
Unique C-Print folded inside wood frame with Ultravue-glass 70 UV
20 x 24 in / 51 x 61.5 cm
Fabiola Menchelli
To travel far enough, 2022
C-print única doblada dentro de
marco de madera con vidrio Ultra 70% UV
20 x 27 in / 51 x 69 cm
Pieza única

Unfolding

Unfolding


Libros Proyecto ESPAC
2022

Unfolding


Libros Proyecto ESPAC
2022

Fabiola Menchelli & Andrea Chapela

To unfold is to make visible something that was hidden; it is to turn back time without losing all trace; to amplify and display. Through the image and the word, as well as the threshold that exists between them, Fabiola Menchelli and Andrea Chapela chronicle an encounter between writing and photography, the private and the public, the process and the product. In a world collapsed inward, both seek out new meaning by way of the process of this book and its implications. Unfolding is a kind of rearrangement; it is to make so as to understand; to write so as to probe; to create a work so as to bring about. It is to draw near and get to know one another in order to try to survive… indeed, folds always leave a mark.

Libros/Proyecto is a series that explores the development of artistic projects within the publishing space. We think of the book as a place for the confluence of creators; a sequential space for collaboration and experimentation; a playful and inexhaustible universe where art and literature are in dialogue and intermingle based on the nature of the printed page.

Unfolding is the seventh title in the series, and at the same time, the first project to come out of the ideas, conclusions, and questions of ABCDESPAC, a collective exercise of reflection that proposes new forms and contents to be developed through the artistic endeavor.

Book Launch:
Saturday, February 12, 12 hours
Arróniz Arte Contemporáneo
Tabasco 198, Roma Norte, CDMX

Unfolding
Fabiola Menchelli and Andrea Chapela
2022
21 x 13.5 cm, 76 pages

Print run of 500 copies in Spanish and 500 in English.

Published by:

Edited by: Laura Orozco and Alfonso Santiago.
Translated by: Kelsi Vanada

 

The english edition of Unfolding has been sponsored by the Cooley Gallery, Reed College, Stephanie Snyder, director.

 

Buy the book online at uso.mx:

 

 

Meian no oku

Meian no oku


2021 – 2022

Meian no oku


2021 – 2022

The title of this body of work, Meian no oku, 明暗    means The depth of light and darkness. Influenced by her travel to Japan, Menchelli started working with color photograms in 2020. This process requires to work in complete darkness where certain things can be planned but others are left to chance, allowing space for improvisation. The color photograms are created with pieces of translucent paper, using multiple exposures of colored light to construct an intuitive space inside of the images. In the darkroom time is paused and the distance becomes personal, measuring space with the tips of her fingers, choreographing movements using colored filters to expose the photographic paper. Working with light as a substance she comes to terms with its matter, creating depth through shadow and light to reveal the subtle revolutions that occur through contemplation.

She works in a small format in the darkroom and later uses these photograms as negatives expanding their scale. This allows for the invisible structure of the photographic paper to be expanded revealing its texture in a micro scale. To take a step closer and observe the weaving of photography’s mechanisms and understand vision in a physical way.

 

Fabiola Menchelli
Plexo, 2020 – 2021
Archival pigment print on cotton paper
76 x 50 cm / 30 x 20 in
Fabiola Menchelli
Orizuru, 2020 – 2021
Archival pigment print on cotton paper
76 x 50 cm / 30 x 20 in
Fabiola Menchelli
Sagitta, 2020 – 2021
Archival pigment print on cotton paper
76 x 50 cm / 30 x 20 in
Fabiola Menchelli
Hana, 2020 – 2021
Archival pigment print on cotton paper
76 x 50 cm / 30 x 20 in
Fabiola Menchelli
Niji, 2020 – 2021
Archival pigment print on cotton paper
76 x 50 cm / 30 x 20 in
Fabiola Menchelli
Toge, 2020 – 2021
Archival pigment print on cotton paper
76 x 50 cm / 30 x 20 in

Parallax

Parallax


2019 – 2021

Parallax


2019 – 2021

Knowledge takes the form of a moving spiral. Described by Ortega y Gasset the growth of knowledge is the process of digging away at the inwardness of things in the attempt to fulfill the ultimate, hopeless task of bringing it to light. We observe the cosmos and, trying to understand ourselves in its infinite depth, it looks back at us. Brushing its contours, we look for meaning in the dark. Balancing sense and reason, insight comes to us like lightning, in a moment of simultaneous illumination and blindness.

In optics and astronomy, a parallax effect describes an angular deviation of the apparent position of an object, which depends on the location of the observer. In this body of work, the cameraless images begin in the darkroom as photograms, allowing for the contours of objects to be recorded through light on the surface of photosensitive paper. Through additional exposures and solarization, an imagined composition is translated into a layered construction, introducing elements of chance into the image-making process. The scale of the resulting image is amplified, further exaggerating the distance between the object and its representation, simultaneously pushing and pulling our own sense of perception.

We come back to the beginning of the spiral, to the point where knowledge and creation are reflections intertwined. Inwardness as such allows us to confront the impossible depth of objects. It executes itself and arrives as an intimate reflection—an image looking back at us, touching us, facing us with immensity.
 
 
 
 

Fabiola Menchelli, Ocular, 2019 - 2021.
Fabiola Menchelli, Ocular, 2019 – 2021.
Fabiola Menchelli, Acitti, 2019 - 2021.
Fabiola Menchelli, Acitti, 2019 – 2021.
Fabiola Menchelli, Eros, 2019 - 2021.
Fabiola Menchelli, Eros, 2019 – 2021.
Fabiola Menchelli, Jiku, 2019 - 2021.
Fabiola Menchelli, Jiku, 2019 – 2021.
Fabiola Menchelli, Black Whole, 2019 - 2021.
Fabiola Menchelli, Black Whole, 2019 – 2021.
Fabiola Menchelli, Motto, 2019 - 2021.
Fabiola Menchelli, Motto, 2019 – 2021.
Fabiola Menchelli, Hai, 2019 - 2021.
Fabiola Menchelli, Hai, 2019 – 2021.
Fabiola Menchelli, Omoi, 2019 - 2021.
Fabiola Menchelli, Omoi, 2019 – 2021.
Fabiola Menchelli, Okami, 2019 - 2021.
Fabiola Menchelli, Okami, 2019 – 2021.
Fabiola Menchelli, Yoru, 2019 - 2021.
Fabiola Menchelli, Yoru, 2019 – 2021.
Fabiola Menchelli, Solar, 2019 - 2021.
Fabiola Menchelli, Solar, 2019 – 2021.
Fabiola Menchelli, Eclipse, 2019 - 2021.
Fabiola Menchelli, Eclipse, 2019 – 2021.

 
 
 

Immensely grateful to everyone that supported me and the creation of this work for the past three years. Thank you to Alex, Laura, and Javier from ProxyCo Gallery. Thank you to FocoLab and to LTI/Lightside for their incredible help in producing this show. Thank you to all the people that helped me in the studio at different points, Emily Kind, M Prull, Paul McAllister, Carla González Vergara, and Darinka Lama. To Priscila Vaneuville, Tere Carter, and my beautiful family, thank you for being there high and low. Special thank you to all the brilliant people that helped me articulate this project, Kevin Sweet, Laura Orozco, Beatriz Díaz, and my students.

This project would not be possible if not for the generous support of the Sistema Nacional de Creadores del Arte from Fondo Nacional para la Cultura y las Artes in México. Thank you.

Horizons

Horizons


2019

Horizons


2019

The series is a body of work created in response and in collaboration with the work of Leslie Moody-Castro and Daniela Libertado for the exhibition A Grain in the Eye of the Mountain at the MARSO Foundation in 2019. The show explored the poetic possibilities of our works and its relation to a series of conversations developes. Among many other things we talked about the container as a symbol that unfolds the materiality of the work.

This series of works was created using the velvet edge of a 35mm photographic film container. The horizon in the images is generated by the velvet edge of the photographic film magazine. In the darkroom, I enlarged the images using color filters in front of the lens to build a space with multiple color exposures.

I’m interested in the poetics of the edge, the horizon, the limit and the container. The work unfolds from the photographic materiality, also generating a landscape and in turn reminds me of the blink of an eye. I like to think these pieces remind us how powerful it is to take a step back and observe ourselves, observing.

Fabiola Menchelli, Horizon IV, 2019, Archival pigment print, 44 x 55 in
Fabiola Menchelli, Horizon III, 2019, Archival pigment print, 44 x 55 in
Fabiola Menchelli, Horizon II, 2019, Archival pigment print, 44 x 55 in
Fabiola Menchelli, Horizon I, 2019, Archival pigment print, 44 x 55 in
Fabiola Menchelli, Shut Eye, 2019, Archival pigment print, five 11x14in prints

Sidereal Tide

Sidereal Tide


2015-2016

Sidereal Tide


2015-2016

This book is the result of a creative process that began in May 2015. The images that constitute it were taken inside the concrete observatory at Casa Wabi on the coast of Oaxaca, where I lived for 28 days as part of their art residency.

The day I arrived, a natural phenomenon, called mar de fondo (deep sea swell), surprised us all and showed us the indomitable power of water: the tide covered the pool, and the floor vibrated with every wave. It was a full moon night, there was something uncanny in the air, someone had fallen off a horse and two lovers broke their bond.

During my stay I walked around the observatory, reviewed and photographed it, fascinated by its composition and structure. Severe, concrete led me to seek a way to mold it through images. The way light bent on its surface, and the way space was cut by its shadow, made me think inevitably on its relationship with the movement of the sea. Connected one after another, the images created a horizon that related, in turn, with the lunar phases. Marking the calendar, I realized the day of my departure would coincide precisely with the full moon.

Upon returning home, I decided to fulfill my aesthetic reflection in a piece that is made up of 13 books, one for every lunar cycle that occurs during one year. Each book is a cycle consisting of 28 pictures, one per day, and each picture measures 24 centimeters, in line with the 24 hours in a day.

The sum of all 364 photographs is a tribute to the power of intuition, femininity, fertility, and the water that composes us, qualities that inescapably relate us to our intimacy with the moon. Honoring, also, the light that is reflected and transmuted into the only face we see of the White Goddess, the strength and the teachings of each of its phases and cycles.

La Curvatura de la Luz, Fabiola Menchelli, Fundacion Casa Wabi, CDMX
La Curvatura de la Luz, Fabiola Menchelli, Fundacion Casa Wabi, CDMX
La Curvatura de la Luz, Fabiola Menchelli, Fundacion Casa Wabi, CDMX
La Curvatura de la Luz, Fabiola Menchelli, Fundacion Casa Wabi, CDMX
La Curvatura de la Luz, Fabiola Menchelli, Fundacion Casa Wabi, CDMX
La Curvatura de la Luz, Fabiola Menchelli, Fundacion Casa Wabi, CDMX
La Curvatura de la Luz, Fabiola Menchelli, Fundacion Casa Wabi, CDMX
La Curvatura de la Luz, Fabiola Menchelli, Fundacion Casa Wabi, CDMX
La Curvatura de la Luz, Fabiola Menchelli, Fundacion Casa Wabi, CDMX

I am immensely grateful to Casa Wabi for the invitation to spend these 28 nights in a space like no other, so beautiful and inspiring. Thank you for giving me the time to be still in order to create movement.

The creative process took about a year to complete and would not have been possible without the support of Casa Wabi. Thank you to Patricia Martin. Thank you to Bosco Sodi and Tadao Ando for creating this wonderful space. Thank you from the bottom of my heart to Cristina Nava and Alberto Rios de la Rosa. Thanks to Judith, Lalo, Lucero, Lalito, Doña Irma, Genaro, Iván, Galia, James, Katia, Huna, Gaby and Yeni, Rebeca and Sean. Thanks to Yautepec for their unconditional support. Thank you to Imagen Virtual, Xavier Gaona, Alana Burns, Ernesto Miranda, Leila Tschopp, Laia Rius, and Teresa Carter for their invaluable advice and amazing work. Thanks to my wonderful family and friends. Finally, thanks to Priscilla Vanneuville: I could not have done it without you.

Light Studies

Light Studies


2016 – 2020

Light Studies


2016 – 2020

Using the camera to transmute reality, Fabiola Menchelli combines diverse perspectives in a single plane, generating a dimension that exists only within the camera. The images from this body of work are constructed inside of the camera exposing the light-sensitive surface multiple times altering the object, shapes, and colors, thus generating different planes of light that are combined in the latent image.

The work reveals the subjectivity of the lens by conceiving the camera as a perceptual apparatus that points inside to create the image. Seeking to question the ontological nature of the photographic medium to elevate the space of representation beyond the paradigms of perception.

Fabiola Menchelli, Untitled, 2013, Archival pigment print on fiber paper, 20” x 24” / 50.8 x 61 cm
Fabiola Menchelli, Pink Lady, 2018, Archival pigment print on fiber paper, 24” x 30″ / 61 x 76.2 cm
Fabiola Menchelli, Archer, 2018, Archival pigment print on fiber paper, 24” x 30″ / 61 x 76.2 cm
Fabiola Menchelli, Ace of Swords, 2018, Archival pigment print on fiber paper, 24” x 30″ / 61 x 76.2 cm
Fabiola Menchelli, Queen, 2018, Archival pigment print on fiber paper, 20” x 24” / 50.8 x 61 cm
Fabiola Menchelli, King, 2018, Archival pigment print on fiber paper, 20” x 24” / 50.8 x 61 cm
Fabiola Menchelli, Amparo, 2018, Archival pigment print on fiber paper, 20” x 24” / 50.8 x 61 cm
Fabiola Menchelli, Light study No. 6, 2013, Archival pigment print on fiber paper, 20” x 24” / 50.8 x 61 cm
Fabiola Menchelli, Triad, 2018, Archival pigment print on fiber paper, 16″ x 20” / 40.6 x 50.8 cm

Fabiola Menchelli, Parallax, 2016, Archival pigment print on fiber paper, 30″ x 40” / 70 x 100 cm[/caption]

Fabiola Menchelli, Cosmos I, 2018, Archival pigment print on fiber paper, 19” x 24″ / 49 x 61 cm

Bajo el Sol Azul

Bajo el Sol Azul


2015 – 2017

Bajo el Sol Azul


2015 – 2017

Bajo el sol azul, Fabiola Menchelli, BWSMX Brett W. Schultz, Mexico City. From October 7th – December 16th, 2017

Under the Blue Sun originated during Fabiola Menchelli’s 2015 residency at Casa Wabi, a Tadao Ando-designed residential compound for artists situated near Puerto Escondido, along the Oaxacan coast of Mexico. An observatory on the premises, intended by Ando as a site for deep contemplation, became Menchelli’s source of inspiration for a new body of work about the poetics of observation.

Over the course of 28 days, Menchelli photographed the shifting light that slipped into the observatory’s imposing, concrete structure. Capturing the rhythmic, cyclical shifts of the sun across multiple exposures, she began to transpose the physical dimensionality of the architecture into immeasurable space. The resulting images were printed with a 170-year-old photographic process called cyanotype, reproducing the rough, uneven curves of the observatory walls with a technique that’s notoriously difficult to control. Quite literally drawing with light, these new works were informed by the same wabi-sabi philosophy that inspired the building itself, one that embraces the imperfect and transient elements found in nature.

Menchelli presents ‘outside’ and ‘inside’ not only as spatial elements but also as temporal dimensions. By unifying multiple exposures, she blurs the boundaries between the observatory’s solid edge and the vast, impenetrable sky. The overlapping layers of blue tonalities metaphorically fold in upon one another, adding a depth and richness that both abstracts the spaces depicted and the time in, during, and over which they were captured. By removing the clear visual referents via which one might more easily read or understand the image, Menchelli manipulates our own perceptive powers in order to complete the work.

In 1838, John Herschel, the inventor of the cyanotype, captured one of his earliest images through a circular window: that of a telescope belonging to his father, the renowned astronomer William Herschel. Somehow the act of looking beyond — of collapsing space and distance through the manipulation of our organs of perception and our sensory experience — also too creates a circular path linking Herschel, Ando, and Menchelli. Each one looks beyond and then ultimately back, to reflect on the nature of the very thing they seek to capture. Through science, architecture, and photography their works speak not only to light and the spaces that it illuminates but to the subtle revolutions we experience as the result of profound contemplation.

Under the Blue Sun is presented as two cycles of seven images and in this way, Menchelli too comes full circle. Each image, through its imperfect curves and asymmetrical forms, reveals an experience captured in order to eventually be continued by others. Their multiplicity and the ever so subtle variations across repetitions amplifies each image’s own subjectivity, echoing the simple realization that a finished product is always still a
work in progress.

— Asha Bukojemsky

Bajo el sol azul, Fabiola Menchelli, BWSMX Brett W. Schultz, Mexico City. From October 7th – December 16th, 2017
Bajo el sol azul, Fabiola Menchelli, BWSMX Brett W. Schultz, Mexico City. From October 7th – December 16th, 2017
Bajo el sol azul, Fabiola Menchelli, BWSMX Brett W. Schultz, Mexico City. From October 7th – December 16th, 2017
Bajo el sol azul, Fabiola Menchelli, BWSMX Brett W. Schultz, Mexico City. From October 7th – December 16th, 2017
Bajo el sol azul, Fabiola Menchelli, BWSMX Brett W. Schultz, Mexico City. From October 7th – December 16th, 2017
Bajo el sol azul, Fabiola Menchelli, BWSMX Brett W. Schultz, Mexico City. From October 7th – December 16th, 2017
Bajo el sol azul, Fabiola Menchelli, BWSMX Brett W. Schultz, Mexico City. From October 7th – December 16th, 2017

******

Fabiola Menchelli, Sin Título, 2015-2017, de la serie Bajo el Sol Azul, Cianotipo sobre papel de algodón, 61 x 76 cm, 30 x 24″
Fabiola Menchelli, Sin Título, 2015-2017, de la serie Bajo el Sol Azul, Cianotipo sobre papel de algodón, 61 x 76 cm, 30 x 24″
Fabiola Menchelli, Sin Título, 2015-2017, de la serie Bajo el Sol Azul, Cianotipo sobre papel de algodón, 61 x 76 cm, 30 x 24″
Fabiola Menchelli, Sin Título, 2015-2017, de la serie Bajo el Sol Azul, Cianotipo sobre papel de algodón, 61 x 76 cm, 30 x 24″
Fabiola Menchelli, Sin Título, 2015-2017, de la serie Bajo el Sol Azul, Cianotipo sobre papel de algodón, 61 x 76 cm, 30 x 24″
Fabiola Menchelli, Sin Título, 2015-2017, de la serie Bajo el Sol Azul, Cianotipo sobre papel de algodón, 61 x 76 cm, 30 x 24″
Fabiola Menchelli, Sin Título, 2015-2017, de la serie Bajo el Sol Azul, Cianotipo sobre papel de algodón, 61 x 76 cm, 30 x 24″

Ellipse

Ellipse


2015 – 2016

Ellipse is a series of abstract photographs created in May 2015, taken inside a concrete observatory, and formed by multiple exposures within the camera.

The series represents a composition of light, shapes, shadows, lines and forces. The expression, not only through a single picture but also as a whole, is the result of various elements; the materials, the light, the shadow, the edge of the concrete, the air, the ocean and the horizon all work as an influence on the creative process.

The purpose is to create, from one image to another, a spiral in motion. Shapes, circles, ellipses and movements are organic and energetic; forces in contact with each other. Showing intangible ideas that can be felt and connected through what awakens in each person.

Geometry, as space and source of inspiration, generates images that are open to the interpretation of the observer. However, it is inevitable to perceive the strength they have when they combine and generate a greater space.

The series seeks to awake a reflection on the bond between human beings; how a stronger space is constructed in community, the same way an image meets another sibling image, and they connect.

Ellipse


2015 – 2016

Ellipse is a series of abstract photographs created in May 2015, taken inside a concrete observatory, and formed by multiple exposures within the camera.

The series represents a composition of light, shapes, shadows, lines and forces. The expression, not only through a single picture but also as a whole, is the result of various elements; the materials, the light, the shadow, the edge of the concrete, the air, the ocean and the horizon all work as an influence on the creative process.

The purpose is to create, from one image to another, a spiral in motion. Shapes, circles, ellipses and movements are organic and energetic; forces in contact with each other. Showing intangible ideas that can be felt and connected through what awakens in each person.

Geometry, as space and source of inspiration, generates images that are open to the interpretation of the observer. However, it is inevitable to perceive the strength they have when they combine and generate a greater space.

The series seeks to awake a reflection on the bond between human beings; how a stronger space is constructed in community, the same way an image meets another sibling image, and they connect.

Dubai Photo 2016, curated by Magnolia de la Garza

Elision

Elision


2016

Elision


2016

Artist Book
Edition of 100
Risographic Print

Elision refers to overlapping phrases in music, when the last note of one phrase serves as the first note of the next phrase, usually for a short period of time.

Published by Special Collections Press
University of Cincinnati
College of Design, Architecture, Art and Planning
www.specialcollections.biz
© 2016 Fabiola Menchelli

Edited by Amanda Curreri and Jordan Tate
Thank you to the University of Cincinnati,
and to Jordan, Amanda and Luke.
Thank you to Laia Rius.




Fabiola Menchelli
Elision, 2016, Artist Book, Risograph Print, Edition of 100