There is No North Point is a large work (200x 500cm), which in corporates many layers of meaning in both the drawing and the presentation. The size determines its status as a gallery piece, intended for an audience versed in artistic appreciation. The fine nature of the drawing and the multi-layered symbolism stand in stark contrast to the direct and easily absorbed messages of the ‘Editorial Satire’ series.
For this work, I used a 0.1 mm pen and black ink to convey the messages about the harmful process of displacement. Those messages were collected and collated from my engagement with refugees in the field work done as research for this dissertation. Its role as the repository of the collective experiences of a large number of people gives it an important place in the conclusions drawn by this paper. As with most of my work, this piece draws upon stereotypes, symbols, and economical language to speak across cultures. In There is No North Point, I illustrate the differences between the common understanding of issues and the deeper understanding available through my experience and research. Visual symbols are more commonly understood by the mainstream and I have focused on those that have similar meanings in various cultures.
There is No North Point was a long-term project, taking more than seven months to finish. The piece contains 28 tiles, each 50 by 70 cm. I used tiles to show the diversity and separation of nations and individuals. In addition, the tiles echo the ancient Persian art of tile making. Tiles are related to community, alliance and unity in diversity. Tiles can be meaningless when they are alone, but gain meaning as soon as they are joined together. To create this work, I engaged with sixty displaced people in workshops held to coincide with my solo exhibitionVivid Darkness, at Logan Art Gallery.