Esther Solendz

Gallery Naga

Esther Solendz’s series “Incarnation, ” 1994–95, represents the artist’s first attempt to blend text and image. Her mixed-media portraits, which begin as silver prints mounted on board, mix spiritual and material concerns through a complex layering of beeswax, earth, gold leaf, plaster, and paint.

Her most ambitious and largest work, Touch Me, 1994, is a neatly arranged collection of original and rephotographed portraits of beloved family members, covered in wax and framed in handcrafted wood and wax frames. Six square, framed portraits—some more visible than others—were combined with three old-fashioned glass bottles and arranged in three evenly spaced rows. Juxtaposed with images of the living, which included Solendz’s infant niece, young son, and her self-portrait, were the visionary floating heads of deceased relatives. The central rectangular portrait of her father (a silver print made

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