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An obvious example of this crossing of borders is Leonilsons Divided Waters of 1993.


They are capable of existing without a body or skeletal frame to sustain them (or without the artists own body as a literal frame of reference).

At the same time the body is always present metaphorically [Lagnado 101].

The artist has said that this malleability or suppleness is present in his works in order to correspond literally to his sense of ambiguity [Lagnado 116].

Terminal illness separates Leonilsons early works from his later embroideries.


A deadly disease, with all of its social and moral implications, divides the romantic, passionate, and euphoric youth from his decaying, emptying self.

During this stage we are spectators looking outward, making sense of Leonilsons experience.


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