A painting made on a wrinkled piece of muslin from the series Silent Letters resembles a weathered and enigmatic missive. Caland once playfully told a friend that she could have been a writer but chose painting in order “to be incomprehensible.”
In the @nybooks.com
www.nybooks.com/articles/202...
The idea of home—in a city, in one’s body, in a corpus of visual art—runs through a new show of inventive work by the Lebanese artist Huguette Caland.
