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 Installation view of  After Julian , 2012, at the Levitt Gallery at the University of Iowa.   Note on the textual source of the paintings:   In chapter 51 of  A Revelation of Love , Julian of Norwich discusses one of her revelations that, at the time of the revelation, remained something of a mystery to her: this is what prompted her to comment that “every shewing is full of privities”—“secret things” in a modern English translation. She goes on to describe how the revelation was ultimately unlocked, twenty years later, under the direction to “pay attention to all the properties and conditions that were showed in the example, though you may think them misty and indifferent in your sight.” The way that Julian uncovers the meaning of the revelation is therefore a matter of paying attention to the revelation as it has been given—she importantly does not need to look beyond the revelation for explanation, but must look more fully into it. It carries the key that unlocks its secrets within itself.  I might characterize the work in this show as an a empt to uncover secrets contained within my reading of Julian’s Revelation. The texts that form the basis of these paintings are all taken from the Revelation. I held onto the words, descriptions or visual associations of the texts that, for some reason unknown to me, clung to my imagination. I came to understand the texts more fully by working them into paintings, although the relationship between the paintings and the texts is not always fully determined: that is, these paintings are full of secrets (for me) as well.