Issue #8


  2. All Our Departed / El Male Rachamim אל מלא רחמים

  3. Jewish Ugliness

  4. Plastered Cistern That Leaks A Drop

  5. A Ghostly Seam

  6. Searching for Spanier Arbeit

  7. Reading Me

  8. Palestine, Antisemitism, and Germany's "Peaceful Crusade"

  9. Holding Onto Nothing to See How Long Nothing Lasts

  10. Hallucinatory Ethnicization

  11. lady of the sutures

  12. Anti-Racism as Procedure

  13. A Revolution of Silence

  14. Bodiless At The Bimah

lady of the sutures

Daisy Diamond





lady of the sutures, steel rods, raw canvas, cheesecloth, tulle, wire, approximately 28 x 41 x 90 inches, 2019

[Image description: The first two photographs of the artwork are two angles of the same sculpture or “3D collage” as the artist describes it, and the following three photographs zoom in on sculpture details. Supported by steel rods on the floor, an organic shape rises and forms around sections of steel armature. Patches of raw canvas and cheesecloth are stretched and stitched together with wires. Leaving sections of space or voids with no fabric, it’s reminiscent of welded sculptures by Lee Bontecou (b. 1931).

of the sutures,
wobbly to the touch,
she was anxiously stitched into a complicit soldier
for when time
would not
cleanse these wounds.

lady of the sutures is a body stitched together and made of raw canvas. Canvas is taught to be read as a neutral color, which furthers the association between paleness and neutrality, privileging and normalizing white dominance. Stitched together thousands of times, a bloody repetition stands wobbly, holding the potential to unravel, holding on desperately, but not indefinitely. A core steel spiral runs from the base to the top, representing the cyclical understandings of time within Judaism. This understanding contrasts the linear or inherently “progressing” narratives common in Christian and liberal perspectives on time and social change. As a material support for the transition of an open wound to a healed scar, sutures carry the power to resolve a trauma. When sutures are taken out too soon, when the work is declared done prematurely, the wounds reopen, fester, and scarring becomes worse. When sutures are left in too long, not only does the scarring become more and more prominent, but they can become buried within tissue, infected, and need to be dug out again.

Daisy Diamond (b. 1997) is a queer, Jewish, Philadelphia-based, artist, and arts educator. They write, draw, paint, weld, sew, collage, and work in other tactile, layered media. They work with themes from Kabbalah (Jewish mysticism), queerness, and assimilation/whiteness. Daisy’s work has been exhibited at the Bates College Museum of Art and published in the most recent Radical Jewish Calendar Project. Their work will be published in the upcoming anthology, There Is Nothing So Whole as a Broken Heart: Mending the World as Jewish Anarchists.