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...represents another element of Zarina's memory and references the artist's notion that home can be described as a foreign concept. Language is central to the artist's work, and in this series the Urdu text pays homage to a place she has left several decades ago.
When asked by an audience member, at the closing of the museum talk, where she feels her home is, Zarina said that home is wherever she is, that she carries her home with her.


When Huyssen asked Zarina to elaborate on the printmaking process and the role of paper in her works, she spoke about how she collected different kinds of paper from India and the other parts of the world that she visited. She talked about immersing herself in the possibilities of paper through printmaking and unconventional uses of the medium: she would scratch, fold, cut, knot, and sew paper. This exploration led her to experiment with paper pulp, which she moulded and cast into sculptures as in (italics) Pool (Terrarosa), (1980) and Traces (1981).

(Picture)

Zarina, 'Blinding Light', 2010, Okawara paper gilded with 22-carat gold leaf, 184.2 x 92.7cm. Luhring Augustine, New York. Photo: Robert Wedemeyer.