the fluidity of sacred structure

Within Intersections, no clear boundary or separation exists;
our moving bodies change the nature of the pattern
as we walk freely through its dense silhouette.


Intersections, Laser-cut Wood, Single Light Bulb, 6.5′ Square Cube

In the Intersections project, the geometrical patterning in Islamic sacred spaces associated with certitude is explored in a way that reveals its fluidity. The viewer is invited to confront the contradictory nature of all intersections, while simultaneously exploring boundaries. My goal is to explore the binaries of public and private, light and shadow, and static and dynamic by relying on the purity and inner symmetry of geometric design, and the interpretation of the cast shadows. The form of the design and its layered, multidimensional variations will depend both on the space in which it is installed, the arrangement of the installation, and the various paths that individuals take while experiencing the space.

The Intersections project takes the seminal experience of exclusion as a woman from a space of community and creativity such as a Mosque and translates the complex expressions of both wonder and exclusion that have been my experience while growing up in Pakistan. The wooden frieze emulates a pattern from the Alhambra, which was poised at the intersection of history, culture, and art and was a place where Islamic and Western discourses, met and coexisted in harmony and served as a testament to the symbiosis of difference. For me the familiarity of the space visited at the Alhambra Palace and the memories of another time and place from my past, coalesced in creating this project. My intent with this installation was to give substance to mutualism, exploring the binaries of public and private, light and shadow, and static and dynamic. This installation project relies on the purity and inner symmetry of geometric design, the interpretation of the cast shadows and the viewer’s presence within a public space.

– Anila Quayyum Agha

Intersections is on view September 24 – December 6, 2015 at Rice University Art Gallery

Sourced from the artist’s website: and Vimeo.



That which lies behind

Meg Hitchcock
Famous Accountants Gallery New York
February 18 – March 20
The Book of Revelation from the Koran

I’m cutting up the Koran, letter by letter, and reassembling it into the Book of Revelation. You could say that I’m de- and re-contextualizing these two monumental pieces of sacred writing.

In addition to the installation, I’ll be showing a few small pieces at my opening at Famous Accountants Gallery on February 18. This one is a beautiful passage from the Koran, an excerpt from the chapter called ‘Light’. I cut the letters from ‘Ecclesiasticus’, a book from the Apocryphal Bible. It’s small; 5.25″ x 3.5″.


Meg Hitchcock: Light


I hope that those who see the show will stop and think about the nature of religious beliefs. I hope the veil is momentarily lifted, and they get a glimpse of That which lies behind. I hope they see that beliefs are nothing more than constructions of the mind. I hope that this resonates with someone, and sets up a vibration that will loosen the fear that’s lodged in the hearts of men and women of all religious persuasions.

– Meg Hitchcock

From her brilliant blog – where you can also view a Rough Cuts Video of Meg working on the installation.

meg hitchcock at the artisans’ gallery