Suspended in Void

These ligurian ex-votos which illustrate people miraculously survived the fall are created as a personal expression of thanks and a public testimony to faith and gratitude to the Virgin Mary, always present at the scene of the accident.

1. A bricklayer falls from the roof. September 3, 1898. Genoa-Sestri, Sanctuary of Nostra Signora Virgo Potens. Oil on canvas, cm 55x33.

2. A bricklayer falls from the roof. September 3, 1898 (particular).

3. A worker falls from scaffolding while working on the construction of an electrical substation. May 3, 1913 (particular).

4. A worker falls from scaffolding while working on the construction of an electrical substation. May 3, 1913. Genoa-Voltri, Sanctuary of Nostra Signora delle Grazie. Oil on canvas, cm 60x40.

5. Man falls from balcony. October 15, 1874. Ceranesi, Sanctuary of Nostra Signora della Guardia. Oil on canvas.

6. Man falls from balcony (another version). Genoa, Sanctuary of Nostra Signora del Monte. Oil on canvas, cm 50x40.

7. Man falls from balcony. March 24, 1929 (particular). Genoa-Sestri, Sanctuary of Nostra Signora della Misericordia sul monte Gazzo.

8. Man falls from balcony. March 24, 1929. Genoa-Sestri, Sanctuary of Nostra Signora della Misericordia sul monte Gazzo. Oil on glass, cm 43x34.

9. Child falls from a window. Nineteenth century. Megli, Sanctuary of Santa Maria delle Grazie. Oil on canvas, cm 30x35.

10. Worker falls from a window. September 27, 1928. Genoa, Sanctuary of Nostra Signora del Monte. Tempera on cardboard, cm 50x36.

11. A little girl falls from seventh floor, landing in a basket of vegetables. July 14, 1879. Genoa, Sanctuary of Nostra Signora del Monte. Oil on canvas, cm 39x34.

12. Man falls from tree. Eighteenth century. Megli, Sanctuary of Santa Maria delle Grazie. Oil on board, cm 25x22.

13. Man falls from a ladder. January 23, 1875. Genoa-Sestri, Sanctuary of Nostra Signora della Misericordia sul monte Gazzo. Oil on board, cm 38x49 (particular).

14. Man falls from a ladder. January 23, 1875. Genoa-Sestri, Sanctuary of Nostra Signora della Misericordia sul monte Gazzo. Oil on board, cm 38x49.

15. Two children falling from a tree. February 13, 1892. Genoa-Sestri, Sanctuary of Nostra Signora Virgo Potens. Oil on paper on canvas, cm 34x42.

16. A man falls into a mill. September 28, 1888. Millesimo, Sanctuary of Nostra Signora del Deserto. Oil on canvas, cm 41x29.

17. Two brothers falling into the water-wheel. August 25, 1885. Ceranesi, Sanctuary of Nostra Signora della Guardia. Oil on board, cm 40x30.

Dreamtime - Australian Aboriginal Paintings

1. Timmy Payungka Tjapangati - Possum Dreaming for Children, 1972 - acrylic on hardboard, 60 x 50 cm.

2. Walter Tjampitjinpa - Wild Potato story, 1972 - acrylic on hardboard, 64 x 54,5 cm.

3. Billy Stockman Tjapaltjarri - Yala (Wild Potato) Dreaming, 1971 - acrylic on hardboard, 54,5 x 46 cm.

4. Shorty Lungkata Tjungurrayi - Children's Water Dreaming (Version 2), 1972 - acrylic on hardboard, 61 x 44 cm.

5. Anatjari Tjakamarra - Big Pintupi Dreaming ceremony, 1972 - acrylic on hardboard, 51,5 x 43,3 cm.

6. Tim Leura Tjapaltjarri - Travelling Honey Ant Dreaming (Version 7), 1972 - acrylic on hardboard, 45,5 x 30,5 cm.

7. Tim Leura Tjapaltjarri - Yam Spirit Dreaming, 1972 - acrylic on hardboard, 70 x 54 cm.

8. Uta Uta Tjangala - Women's Dreaming, 1972 - acrylic on hardboard, 45 x 37 cm.

9. John Tjakamarra - No title, 1972 - acrylic on hardboard, 66 x 47 cm.

10. John Tjakamarra - Men and Women, 1972 - acrylic on hardboard, 71 x 51 cm.

11. Yala Yala Gibbs Tjungurrayi - No title, 1971-1972 - acrylic on hardboard, 73 x 51 cm.

12. Nosepeg Tjupurrula - Three ceremonial poles, 1971 - acrylic on hardboard, 56,2 x 70 cm.

Images from a Lost World

1. Onas family - Tierra del Fuego.

2. Adornments. Solomon Islands.

3. Andaman Boy with his father's bones (Andaman Islands, India).

4. Dogon ritual dance masks - southeast of Timbuktu, Mali.

5. Hmong (Meo) women in wedding clothes. Vietnam (Tonkin).

6. Two Moi tribesmen in a hut built on piles, southern Annam, Vietnam.

7. Algonquin shaman, Canada.

8. Aboriginal people with their shaman and sacred pole, Australia.

9. Group of Ainu people, Japan.

10. Araucanian graveyard, Chile.

11. Cleaning wells. Southern Tunis.

12. Eskimos with their tent make of skins, Greenland.

13. Indian turner.

14. Young Abyssinian playing the lyre.

15. Woman in mourning, Madagascar.

16. Fetish Priest Hazena. Niger.

17. Sakai boy blow the dart from the sumpit (blowgun), Malaysia.

18. Two Patamona indigenous build a boat, Guyana.

Boyle Family - The Tidal Series

1-14. Tidal Series (sand on Epikote and fibreglass) - details.

Appendix 4 - Mineral Solids. The Tidal Series.
A series of 14 studies 4'9" x 4'9" made on the same square of the beach at Camber Sands after each tide for a week. The objective was to examine the effect of the elemental forces on the site; and to lift the actual sand off the surface and to fix it in its exact place and shape. Camber Beach was chosen because it was extensive, with a considerable area between high and low tide marks. The sands are situated between the sea and Romney Marsh, a very extensive flat area of country. For this reason there is no protection from the wind from any direction. A site was chosen about mid way between high and low water just landward of a large sandbank. The site was not chosen at random. It was selected deliberately to give maximum time to work on the site, in an area that always seemed to be rippled (as was 90% of the beach). The series started on the first of November 1969. It was a week of ferocious gales — Force 9 gusting to 10 much of the time. The wind swept all around the compass. When it came from the south west the Beach Cafe, where the series was being assembled, was half buried in sand. The ripple variation on the site was considerable and the sand bar moved about in the storm, with the result that, where the series started to landward of it, on some days the square was actually on the bar either on its seaward or landward slope. Some days there was a considerable amount of animal and vegetable material on, or in the vicinity of, the square with the result that sea-birds moved across the surface of the square. On other days the marks of annelids and crabs appeared in the sand. I.2. All of these were fixed, the actual grains of sand these creatures touched being in their correct position, in the final study. So that to a very large extent the studies are microscopically accurate, and the individual crystals of quartz and salt can be isolated.