2020, graphite on paper, 8"x11.5" inches.
“Moored to the Moon feels like such a sad little romance to me: the delicate rope stretched over an impossible distance from the moon to the sea, two pink dunes like smooth kneecaps bathing in warm water.
I've been thinking of lovers' phones, two tin cans connected by a length of string to form a rudimentary telecommunication device, for a while now as a means of forming intimacy at a distance, a tactile line of desire pulled taut between two subjects. They've felt especially poignant since distance has become an urgent public health issue. In the drawing here, a lovers' phone extends directly from the body. What would we hear if we pressed our ears to the tin?”
Moored to the Moon
1963, oil on board, 10 3/4 x 12 3/4 inches.
“I am not interested in complicated things nor in the commonplace, I like to paint simple things that are a little strange… my work comes directly from my inner consciousness and it must come easily.” (quote via karmakarma.org)
Claudia Gerbracht &
Archival Pigment Print on Luster Paper, 12"x12", 2019.
“What moors us, besides the moon? In both Abercrombie's painting and our photograph Abalone Moon, we see a lush feminine landscape, sensuous, surreal, and serene. With an abalone masquerading as the moon, and shells surrounding in abundant genuflection, this is a fantastic space, lesbian by design.”