“A young woman stands waist deep in a large body of water, her gaze transfixed, her skirt soaked; another young woman clambers upward or perhaps down into the slippery grasp of the earth, her body caked in sheets of mud, the palms of her hands fusing with the gelatinous soil; a pair of young women soldiers bend simultaneously toward the ground, their hair entwining them together as they bow down; one woman disappears into the mouth of a tunnel that stretches darkly on from the light in which we find her, while the face of another woman emerges from the slim aperture through which light enters her kheffiyeh, itself a movable shadow. Each subject is drawn into a sympathetic or conflicting orbit with one another, drawn into a constellation of interdependency and conflict, togetherness and violent separation, light and dark. It is in the intricate array of these relationships that the complex histories of this land are given real metaphorical weight.”

— from The Field of Memory: Irina Rozovsky’s One to Nothing.