DoppelHouse Press

As seen on 60 Minutes with Anderson Cooper and in the Emmy-award-winning New York Times documentary, the gripping true story of a Jewish teenager who became "The Forger of Paris" for the French Resistance. 

At seventeen, Adolfo Kaminsky had narrowly escaped deportation to Auschwitz and was recruited to join the Jewish underground. Due to his expert knowledge of dyes and an artistic, technical ability to reproduce official documents, he soon became the primary forger for the Resistance in Paris, creating papers that would save an estimated 14,000 Jewish men, women, and children from certain death. Upon the Liberation and for the next twenty-five years, Kaminsky worked as a professional photographer. But, recognizing the fight for freedom had not ended with the defeat of the Nazis, and driven by his own harrowing experiences, he continued to forge documents in secret for activists, refugees, human rights causes, and pacifists throughout the world.

"At a moment when someone’s passport, or religion, can still mean the difference between life and death, Mr. Kaminsky’s story remains painfully relevant, but inspiring." —Filmmakers Samantha Stark, Alexandra Garcia and Pamela Druckerman for The New York Times

"This necessary book provides unforgettable insights into hidden worlds of the Jews, intellectuals, and partisans who fought back.... has a thriller dimension that outshines even the best undercover fiction." —Jewish Book Council

"A triumphant wartime biography, full of heroism and near-alchemistic craftiness." —Foreword Reviews

An eye-witness account of the Russian/European conflict at the heart of WWII, relevant today as war rages again along similar battle lines in Ukraine, Crimea and the Caucasus.

In a corner of 20th-century history almost unknown to the English-speaking public, anti-Stalinist Georgians and anti-Hitlerite Germans worked as an arm of the German Resistance, disavowing Hitler’s inhuman "East Policy" mandates and seeking to liberate Caucasian nations from Stalin. Allies Against Two Evils: Georgian P.O.W.s in WWII’s Bergmann Units and the Quest to Liberate the Caucasus from Russian Imperialism by exiled Georgian M.D. Givi Gabliani vividly recalls this time, the hopes of the Georgians who fought in World War II, their solidarity, their tribulations, their devotion to the Jewish people, and why they made the alliances they did.

Gabliani's memoir, written in English and published several years ago in Georgia, contrasts the vision of an ascendant Russian Empire and a decaying West with historical European-Georgian cooperation and the centuries-long quest of the Georgian people for self-determination.

The preface by Georgian-German scholar and former head of the Georgian National Library, Alexander Kartozia examines the legacy of Givi Gabliani and the Gabliani family from the highland province of Svaneti, keepers of 12th century artifacts from Georgia's Golden Age and leaders of the 1920s resistance insurgency against Soviet invasion.

Gabliani envisions a future Europe supporting a trans-Caucasian alliance with mixed races and religions living together equally in tolerance and prosperous harmony, as they had for millennia in Georgia. As a spokesman for the POWs, he coordinates with the Georgian exile government in occupied Paris and Berlin, finding a secret effort afoot in occupied France to save Georgian and other Eastern European Jews. Today, Gabliani's war memoir centers our attention on an active fault line. Across the great conflicts of the twentieth century that undergird and still define the region between Russia, with its imperialist ambitions, and the Black Sea, Georgia and the Georgian people appear as some of the most likely partners for international efforts toward peace.

Artist, critic and poet Eve Wood has a ribald sense of humor and for decades has had a distinctive presence in the Southern California art world. This is her first monograph, featuring a collection of off-beat, imaginative color studies populated with birds, animals and irreverent, sometimes naughty personae. Short, laugh-out-loud prose accompanies each of the portraits and vivid scenes. Her dog sleeps on a Ukranian-gold and blue rug; her raven vacuums the house; absurd characters from movies and art stand in for obnoxious or dreamy colors; and the birds – so many birds – sing of freedom.

The oral history of a renowned Czech writer, whose optimism and faith in people survived grueling experiences under authoritarian regimes.

Heda Margolius Kovály (1919-2010) was a renowned Czech writer and translator born to Jewish parents. Her bestselling memoir, Under a Cruel Star: A Life in Prague, 1941-1968 has been translated into more than a dozen languages. Her crime novel Innocence; or, Murder on Steep Street—based on her own experiences living under Stalinist oppression—was named an NPR Best Book in 2015.

In the tradition of Studs Terkel, Hitler, Stalin and I is based on interviews between Kovály and award-winning filmmaker Helena Treštíková. In it, Kovály recounts her family history in Czechoslovakia, starving in the deprivations of Lodz Ghetto, how she miraculously left Auschwitz, fled from a death march, failed to find sanctuary amongst former friends in Prague as a concentration camp escapee, and participated in the liberation of Prague. Later under Communist rule, she suffered extreme social isolation as a pariah after her first husband Rudolf Margolius was unjustly accused in the infamous Slánsky Trial and executed for treason. Remarkably, Kovály, exiled in the United States after the Warsaw Pact invasion in 1968, only had love for her country and continued to believe in its people. She returned to Prague in 1996.

Heda had an enormous talent for expressing herself. She spoke with precision and was descriptive and witty in places. I admired her attitude and composure, even after she had such extremely difficult experiences. Nazism and Communism afflicted Heda's life directly with maximum intensity. Nevertheless, she remained an optimist.

Helena Treštíková has made over fifty documentary films. Hitler, Stalin and I has garnered several awards in the Czech Republic and Japan.

Linked stories expose generational conflicts, broken relationships and Jewish insecurity post-Holocaust. Darkly humorous, absurd, sometimes tragic and erotic.

‘Verklempt’, Yiddish slang, means ‘choked with emotion.’ In his latest collection of stories, internationally best-selling author Peter Sichrovsky aggressively dismantles post-Holocaust Jewish identity. These are love stories where love is a bitter pill, a joke, a missed chance at happiness, a secret, a ghost, or a longing to be with a person one cannot even remember. Sichrovsky writes without embellishment, spare outlines of characters that feel familiar, and infuses them with dark humor and tragedy. With characteristic inquisitiveness and provocation, Sichrovsky delivers a delightful collection that entertains and inspires us to tears, laughter, revelations. Foreword by award-winning playwright Ari Roth.

Stories, among others:
In “Prague,” an adolescent Jewish boy struggles when his Communist parents renounce their affiliations upon Soviet invasion of Czechoslovakia — just as he is about to land a date at the local Communist club.

“The Love Schnorrer” follows a hapless, depressed man leaving his wife and children to secretly emigrate with a Jewish partner, but he is deceived by this new woman, who he most thought he could trust.

In “The Sirens” a young couple in Israel — he a native Brooklynite and she an Israeli-born doctor—struggle to keep their marriage and family together under Saddam Hussein’s latest rocket attack.

“Berlin,” “Holiday,” and “Pig’s Blood” have an autobiographical aspect. Interviews, interrogations, and captive audiences all reveal aspects of the author’s curious career and iconoclastic personality.

In “Clearance Sale” a Jewish man married to the wrong woman for years — she’s German, with Nazi-sympathizing parents — consummates a brief affair with his Jewish secretary on a teddy bear, but only by passing backward through his life to a point of self-annihilation.

“The Aunt” is a raunchy romp through an old people’s home, where the protagonist’s Aunt Martha is forced to share a room with an old Nazi.

“Coffin Birth” finds the wealthy businessman and Holocaust survivor Herr Bernstein only able to reconcile his seventieth birthday with the conception that he will have an heir — by any means necessary — when he learns his daughter is a lesbian.

Somewhere in every story there is a real person. These stories are based on facts. But they are not documentations. They reflect hopes, fears and indifference. Every story is true, as true as a story can be.
—Author’s Preface to the English Edition

“The story of the legendary martial arts fighter and kickboxer Oum Ry is by turns pulse-pounding, disturbing, and powerful. His is an astonishing life told beautifully by his daughter Zochada Tat and Addi Somekh. The book will grip you from its first pages and not let you go."

—Jeff Chang, author of Water Mirror Echo: Bruce Lee and the Making of Asian America  and Can’t Stop Won’t Stop: A History of the Hip-Hop Generation

Oum Ry (b.1944) is a former international champion kickboxer who first brought the Cambodian martial art Pradal Serey to the United States. When his family of silver engravers couldn't afford his food or schooling, he lived with monks until seeking out Pradal Serey masters, soon becoming national champion at 23 years old and one of the most famous fighters in the region. For 15 years, he toured Southeast Asia, and without ever suffering a knock-out, won more than 250 fights. After a young man’s dream-life of stardom, parties, and girls, his new wife gave birth to a child in 1975, two months before the Khmer Rouge entered Phnom Penh and threw the country into the chaos of civil war, where starvation, disease, and mass executions were common.

Oum Ry survived the genocide though much of his family perished. He was saved many times from death in Cambodia due to fame, talent, and his resilience, but suffered a life-threatening attack during Southern California’s epic gang violence of the 1990s. Earlier, as a refugee with his young family in Chicago, Oum Ry learned English while working cleaning hotels. But within a few years, he had an investor in Long Beach, California and opened one of the first kickboxing gyms in the United States.

This is Oum Ry's life story, which is propelled by his highly anticipated return to Cambodia in February 2022 to reunite with family and to pass on Pradal Serey traditions to the next generation.

Hyperrealist photographer Amir Zaki’s new monograph covers 20+ years of photographic work, following his widely reviewed book California Concrete: A Landscape of Skateparks. Includes an essay and interview.

A double gatefold sculptural monograph with no singular entry or exit and three spines, Amir Zaki, Building + Becoming opens to a full width of roughly 40 inches and brings multiple series into focus: suspended landscapes, rocks, carvings, and hyper-realist California beach architecture, which like his skateparks (also included), are uncannily quiet and devoid of people. “I am looking for a kind of strangeness within the commonplace … where something familiar and unfamiliar is initially welcoming yet alienating, using digital technology as a means to an end.”

Literary critics Walter Benn Michaels and Jennifer Ashton discuss Zaki’s manipulation of space through evenness, which is accomplished by creating a perfectly technically focused object: “The point is not that the pictures overcome physical limits, but that they violate the logic of our eyesight.” Referencing the history of landscape and modern photography in California (Edward Weston, Ansel Adams), Michaels and Ashton show that Zaki’s insistence on marrying technology seamlessly with this tradition results in continuity, an “addition through subtraction” of the third-dimension. 

Zaki has been interviewed for NPR online and featured or reviewed in the New York Times, Art in America, Los Angeles Times, Seattle Times, as well as having been interviewed in Dezeen, Wallpaper, The New Order, Elle Decor, Hypebeast, GUP Magazine, and Aramco World. His last book, California Concrete is in the top 50 in Skateboarding books and top 150 in Individual Photographer books on Amazon.

The Great War drama by Viennese satirist Karl Kraus, restaged by Sengl in "stunning display" of taxidermied rat-actors, with commentary.

When the age died by its own hand, that hand was Karl Kraus’.

– Bertolt Brecht

PUBLISHERS WEEKLY – TOP 10 IN ART, ARCHITECTURE & PHOTOGRAPHY, Fall 2018

With critical success over the past four years, artist Deborah Sengl (b. 1974) has exhibited taxidermied rats, drawings and paintings in order to restage Karl Kraus’ nearly-unperformable play The Last Days of Mankind (Die Letzten Tage der Menschheit, 1915–22). Featuring Sengl’s entire installation, the DoppelHouse Press edition also includes essays that examine her ambitious dramaturgy, which condenses Kraus’ ten-to-fifteen hour drama into an abridged reading of its themes: human barbarism, the role of journalism in war, the sway of popular opinion and the absurdities of nationalism. Select translations of Kraus’ original provide a window to see his other “war” — a war on the misuses of language itself.

Published in conjunction with the centenary anniversary of the Armistice, which ended The Great War but bred another soon to come, this edition of The Last Days of Mankind offers an agit-prop protest crossing the boundaries of art and spanning the knowledge of the century that has passed since Kraus penned his play. Deborah Sengl offers her stylistic model for envisioning human folly through animal actors, who become more than human, while confronting a violence particular to humankind, laced with selfishness and greed.

Contributors include modernist poetry scholar Marjorie Perloff (The Edge of Irony, University of Chicago Press 2015); arts writer Matthias Goldmann; Paul Reitter (editor/contributor to Jonathan Franzen’s The Kraus Project, Harper, 2013); and Associate Professor of German, Anna Souchuk.

Prokop’s meticulous history restores Jacques and Jacqueline Groag to their rightful places in the pantheon of Viennese Modernists.

Prokop explores their individual careers in Vienna and Czechoslovakia, their early collaborations in the 1930s, their lives as Jewish émigrés, and the couple’s unique contributions in Britain for postwar exhibitions, monuments, furniture and textile design, even a dress for future-queen Elizabeth II. Full color edition, supported by a grant from the Graham Foundation for Advanced Studies in the Fine Arts.

In this memoir, replete with Jewish humor and sardonic Russian irony, exiled Russian journalist and human rights advocate Arkady Polishchuk (b. 1930) colorfully narrates his evolution as a dissenter and his work on behalf of persecuted Christians in 1970s Soviet Russia.

Told primarily through dialog, this thrilling account puts the reader in the middle of a critical time in history, when thousands of people who had been denied emigration drew international attention while suffering human rights abuses, staged show trials, forced labor, and constant surveillance.

From 1950-1973, Polishchuk worked as a journalist for Russian state-run media and at Asia and Africa Today, where all of the foreign correspondents were KGB operatives using their cover jobs to meddle in international affairs. His close understanding of Russian propaganda, the use of "kompromat" against enemies and his knowledge of "pripiski" (defined as "positive distortions of achieved results and fake reports") makes this memoir especially eye-opening for American readers in today's political climate.

Through the course of the narrative, we are along with Polishchuk as he covers an anti-Semitic show trial, writes samizdat (underground political self-publications), is arrested, followed and surveilled, collaborates with refuseniks and smuggles eyewitness testimony to the west. The absurdity of his experiences is reflected in his humor, which belies the anxieties of the life he lived.

The abandoned daughter of Pablo Neruda speaks through “incandescent poetic prose full of magical realism, biographical details and psychological insight."

Winner of the Fintro Prize for Literature

Malva, a precocious eight-year-old ghost, is running amok in the afterlife with a cadre of other lost children. She searches for her father, the famous poet Pablo Neruda, and wants him to know the details of her small, but not insignificant life. Why did he abandon her, and her mother Maria? And what became of him? Who was he before he had a child? And what did she, his only child, mean to him?

From her omniscient perspective, the once disabled and mute Malva now travels through the world and through time, seeing her father as a young boy, later as he courted her mother in Dutch-Indonesia, and how his political passions drove his life. She scrutinizes every moment, seeking to understand and resolve her loss. With the wisdom of a child, she picks up her father’s pen and conducts literary mischief, courting the great poets of our time and bringing her chosen ghostwriter, Hagar Peeters, news of her own father, who was a journalist in Chile during the coup and Neruda’s mysterious death.… Startling, profound, and graceful, Peeters brings to readers the world Malva could not describe in life, an extraordinary story of love that spans earth and heaven.

Hagar Peeters (b. 1972), nominee for Dutch Poet Laureate, has won numerous prizes and published several volumes of poetry: Enough Poems Written About Love Today (1999), Suitcases of Sea Air (2003), Runner of Light (2008) and Maturity (2011). She spent ten years researching the life of Malva in The Netherlands and Chile. She lives in Amsterdam with her son.

An intimate, often humorous exploration of the intertwining cycles of death, rebirth and coincidence through the eyes of an existential artist.

An amazing game of mirrors. […] Original and promising.
—Le Monde

2014 Anton Wachter Prize for Best First Novel; Golden Book Owl Reader's Choice Award; Opzij Feminist Literature Prize; 2014 Lucy B. & C.W. van der Hoogt Prize; Nominated for the John Leonard Prize, National Book Critics Circle

Meet Minnie Panis, a young and talented conceptual artist navigating love affairs, her unexpected success in the art world, and her relationship with an emotionally distant mother. After surviving a near-death experience falling through the ice during her ultimate artwork, Minnie begins to uncover the truth behind her premature birth with the help of the doctor who saves her life—as it turns out—twice. Entering into his clinic, whose motto is All the fish needs is to get lost in the water, Minnie arrives at the border of life’s ebb, where meaningful art and revelations occur.

Niña Weijers’ remarkable, inventive novel depicts a contemporary conceptual artist at the height of her fame, whose blasé art project has unintended consequences. Weijers invokes Kurt Vonnegut in the course of the narrative, and this novel shares Vonnegut’s sense of how things can be simultaneously real and absurd. Movies and books notoriously fail to capture the social and spiritual atmosphere of the contemporary art world, but Weijers nails it. Her book is beautifully written, surprising and often profound.
—Chris Kraus

This hybrid book examines the art and politics of “The Nude” in various cultural contexts, featuring books of canonical western art pirated and either digitally- or hand-censored in Iran by anonymous government workers. 

Author Glenn Harcourt uses several case studies brought to the fore by American painter Pamela Joseph in her recent “Censored” series. Harcourt’s rigorous, culturally-measured and art historical approach complements Joseph’s appropriation of these censored images as feminist critique. Harcourt argues that her work serves as a window toward larger questions in art. These include an examination of the evolution of abstraction; the role of women in western society, as seen through the history of painting the body; the effects of western art on cultures outside the west (sometimes referred to in Iran as “west-toxication”); and how artists in non-western countries, specifically those in Iran living under rules of censorship that specifically prohibit representation of the body, engage with the history of western art found in the censored books.

Harcourt’s discussion of Iranian contemporary artists focuses on censorship tropes in portraiture, including works by Aydin Aghdashloo, Gohar Dashti, Katayoun Karami, Daryoush Qarezad, Manijeh Sehhi, Newsha Tavakolian, and others. Issues of privacy and security prevent some Iranian artist insiders from being named, but studio images as well as recipes for removal of the censored marks along with testimony from artists who are now living outside Iran provide reference for many English-speaking readers who don’t otherwise have knowledge of the country’s strict policies.

Image reproductions ranging from the pages of the censored books themselves, to Joseph’s paintings, to artwork by contemporary Iranian artists, make the book visually intriguing, timely, and visually fascinating reading.

Beginning in the early morning hours of July 16, 1942, and lasting for two days, the French police went beyond Nazi ordinances and took it upon themselves to arrest and imprison more than 13,000 Jews at a Paris sporting arena, the Vélodrome d'Hiver. 

For most of the Jews, this detention without water, food, or sleep was the first horrific step toward death in the concentration camps. Using recently opened police files, Maurice Rajsfus details the internal organization of the police, showing the mechanisms of this raid in particular and of raids in general, making the book an indispensable micro-history of the Holocaust. A uniquely detailed study of a notorious incident of cooperation between xenophobic and anti-Semitic forces. Shocking, large compilation of published articles in the collaborationist press that promoted social discord and hatred of Jews, distorted or obscured the raids on immigrant Jews in Paris under Nazi occupation, and used emotional appeals to nationalism to justify persecution. A companion piece to Rajsfus's Operation Yellow Star / Black Thursday (DoppelHouse Press, 2017), The Vél d'Hiv Raid, is the only contemporary analysis of the roundup, its precursors and its aftermath, including witness and police reports, shocking excerpts from the collaborationist press, and speeches by contemporary French politicians whose official apology is still not complete and terribly overdue. 

With a foreword by Israeli activist and author Michel Warschawski. 

Maurice Rajsfus (b. 1928), a former investigative journalist for Le Monde, survived the Vél d'Hiv roundup. He has written thirty books, including many examining the Vichy regime and its legacy in French police culture. Several of his books about his World War II experiences are the basis of a YA comic published by Tartamudo editions, as well as a theatrical production and a film. He lives in Paris with his family.

Two books by Maurice Rajsfus, a French activist and former investigative journalist for Le Monde, who shares his research and personal recollections in order to shed new light on France's role in the Holocaust. 

In the first volume, "Operation Yellow Star," Rajsfus meticulously analyzes archival documents, demonstrating the extent of police collaboration with the Vichy regime and how it facilitated the persecution, deportation, and ultimately the death of hundreds of thousands of Jews. Examining long-unseen arrest records and transcripts, Rajsfus seeks to understand how and why many average French citizens resisted Nazi occupation while others were willingly complicit. In the second book, "Black Thursday," Rajsfus recounts his own experiences of July 16, 1942, when he and his family were arrested as part of the Vel’ d'Hiv roundup, the largest ever in France, of 13,000 Jews. While most of those detained during the two-day sweep eventually died in Auschwitz, the author survived and has spent the rest of his life grappling with his country's betrayal. Together, the two volumes by Rajsfus offer a damning exposé of the bureaucracy of genocide, laying bare how cultural bias, political self-interest, and the influence of right-wing media led to the implementation of the Yellow Star as a segregationist device and determined France’s culpability in the Holocaust.

Maurice Rajsfus is the author of thirty books and from 1994–2012 he created and circulated "Que fait la police," a "Cop Watch" bulletin detailing human rights abuses. He lives in Paris with his wife, sons and grandchildren.

Phyllis Aronoff has won the Jewish Literary Award for translation and the translation prize from the Quebec Writers' Federation. She was president of the Literary Translators' Association of Canada and from 2007–2015 represented translators on the Public Lending Right Commission of Canada.

Mike Mitchell (b. 1941) is an award-winning translator of French and German who has been active as a translator for over thirty years. In 2012 the Austrian Ministry of Education, Art and Culture awarded him a lifetime achievement award as a translator of literary works. He lives in Scotland.

Adolf Loos—A Private Portrait is an unusual, literary biography featuring lively, often humorous, “snapshots” of Viennese-Czechoslovak architect Adolf Loos.

"A valuable fine-grained portrait… The English translation of her book is fluent and accurate, conveying well the tone of Claire Loos’ original (which, in turn, to some extent mimics Loos’ own writing style). Richly informative." 
—Christopher Long, West 86th: A Journal of Decorative Arts, Design History, and Material Culture

"Claire Beck Loos, a gifted photographer and writer, … reveals much about her ex-husband’s mercurial persona in a series of conversationally-toned vignettes …. Claire died tragically at 38, at the Riga concentration camp; her memoir thus becomes a haunting tribute not only to Loos's talents, but to her own.."

—Judy Pollan, Modernism Magazine

An intimate collection of vignettes reveals Loos’ personality, temperament and philosophy during the last years of his life (1929-1933) and the ways in which he helped shape Modern architecture. This translation, by Constance C. Pontasch and Nicholas Saunders, is the first English edition, the book having enjoyed several reprints in German.

The author, Claire Beck Loos, was a photographer and Adolf Loos’ last wife. She was born in 1904 in Czechoslovakia; her family were Jewish industrialists and important early clients of Loos, commissioning several apartments in Pilsen and works by the architect’s friend Oskar Kokoschka. In addition to being a biography of her husband, Adolf Loos—A Private Portrait also serves as a self-portrait of Claire, a vibrant young artist who died a tragic and untimely death at Riga, a Nazi concentration camp, in 1942. The book includes supplemental texts by Claire’s niece Janet Beck Wilson, biographical materials and previously unpublished artistic photographs by the author.

The never-before published memoir of design pioneer Paul T. Frankl, known for his Skyscraper furniture and work for Hollywood elite.

Viennese émigré Paul T. Frankl was a pioneer of early modern design in America, known for his “Skyscraper” furniture of the 1920s and later for the work he did for Hollywood celebrities such as Fred Astaire, Alfred Hitchcock, Cary Grant and Katherine Hepburn. His autobiography, thought for decades to be lost, was written at the end of Frankl’s long career and is a vivid account of his early life, his rise in the profession, and his many travels in search of ideas and forms. What will now be known as Frankl’s last book is written in a captivating style befitting the personality of a gentle and cultured man who revolutionized and advocated for American modernism.

This edition, hand-sewn with a printed linen cover, won a design award in Austria and is introduced and annotated by modern design scholar Christopher Long, author of Paul T. Frankl and Modern American Design (Yale 2007). The book includes a remembrance written by his daughter Paulette Frankl as well as many previously unpublished photographs and drawings.

Liat Yossifor’s first artist monograph focuses on a series of ever-evolving grey paintings she produced from 2011-2016.

Employing a time-based process to create these works, she continuously scrapes, sculpts, and re-works the paint until it hardens on the surface. Of the works here, Yossifor has said, “The grey is so much more for me. The grey is the result of color being consumed, of constant editing. The grey is the result of a thousand paintings that got destroyed in the process of making a single one.” Yossifor was profiled by Modern Painters as an artist to watch in 2016 and has recently had exhibitions in New York; Frankfurt, Germany; Guadalajara and Chicago. The book includes essays by Karen Lang, Christopher Michno, Stella Rollig and Ed Schad and was designed by award-winning Vienna-based graphic artist Peter Duniecki.

My interest in the paintings of Liat Yossifor is multifold. [...] In her work, she has opened up a distinct space for herself within a domain many thought was no longer possible to work in: drawing in paint on canvas. In her work, Yossifor rejects the formal claim that drawing in paint (as in Willem de Kooning) evolved into the non-expressionistic use of paint-as-paint (Jackson Pollock). Rather than embracing this view of materiality, she seems to be interested in the connotative possibilities of paint’s materiality when it is explored through alla prima painting and a rethinking of the figure-ground relationship. Her works suggest figural abstractions in which no figure is visible.
— John Yau, Hyperallergic, May 29, 2021