photo series of an elephant dream inspired by Alice Walker’s Temple of My Familiar.
photo essay of the evolution of visual part of cantico delle creature: a celebration of Francesco d’Assisi.
various exercises on light – visible and invisible.
faces in action… and innaction.
children of war, looking at the plight of children bred on fear.
impressions from my first visit to Westminster Abbey
Follow Dante’s eschatological pilgrimage through Inferno, Purgatorio and Paradiso with Gustave Doré’s illustrations of L’infer (1857), Purgatoire & Paradis (1867) and the musical commentary of W. A. Mozart’s Requiem Mass (1791) and G. Verdi’s Missa da Requiem (1874).
about Catherine Adoyo
Luo artist Catherine Adoyo’s first language, drawing, remains her most elemental way of exploring the world. She has said that she is happiest when she is drawing, and drawing when she is happiest. The artist uses a variety of materials, but favors pencil and charcoal above other media. In addition to visual art, Adoyo also produces sculpture and pottery. Her work can be found in private collections throughout the United States as well as internationally.
Adoyo is a literary scholar and composer. She received her BA in Music and Italian at UC Davis and her PhD in Romance Languages and Literatures at Harvard University. In her graduate studies she focused on Medieval and Renaissance Italian Literature and Golden Age Spanish Literature with critical attention to memory and desire in Petrarch’s Canzoniere and its role in the development of the lyric voice in the Western tradition, and the issues of authority and narrative structure in Cervantes’ Don Quijote. She continues to explore the confluence of aesthetic and structural features of both music and literature and her dissertation, “The Order of All Things, Mimetic Craft in Dante’s Commedia” reveals the quadrivial musical rationale for the textual architecture of Dante’s masterpiece.
sandbox for musings on the ethics of storytelling in Korean and Chinese television drama .
mapping and visualization of the Commedia‘s textual architecture.
– Academia.edu: Catherine Adoyo on Academia.edu