Thin, interlaced strips of Japanese paper, gold leaf, and the occasional watercolor detail extend the
life of a broadsheet when in the care of French-Canadian artist Myriam Dion. Through slicing, weaving,
and gluing, the daily publications find new meaning and relevance as the artist overlays their pages
with intricate lace patterns. These precise motifs obscure much of the text, leaving only a prominent
headline or single image entirely visible. Painstakingly constructed, Dion’s works question the notion
that news is inherently fast-paced and fleeting and instead, offer visual depth, dimension, and
intricacy that mirrors the nuance of the stories she highlights.
Using pages from Le Monde, The New York Times, and other organizations, Dion draws on both historical
and current events in her most recent pieces. A winding, pleated form responds to the unyielding
destruction of the Dixie Fire in California with cuts evocative of flames emerging from its folds.
Another accordion-style piece commemorates the late Ruth Bader Ginsberg and her nomination to the U.S.
Supreme Court in 1993, with black-and-white photos of the justice trimmed in gold.
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