inside/outside intertextuality: images ... inside/outside intertextuality: images ... inside/outside intertextuality: images ... inside/outside intertextuality: images ... inside/outside intertextuality: images ... inside/outside intertextuality: images ... inside/outside intertextuality: images ... inside/outside intertextuality: images

Diane Caney is grateful to Robin Petterd for his kind permission to reproduce his digital images on this web site and also in the hard copy version of this text.Some of the Petterd images are used as "quotations" from Petterd/Caney collaborations; others are appropriated by Caney from collaborative works and are used here in different contexts. Diane Caney is also grateful to Sid Caney for his kind permission to allow her to digitally rework some photographs of his sculptures. Copyright permission is still being sought by Caney to use the two Nolan images in the "window" fragment of prose. The blue "remembered" detail of a Nolan work was made by the author to avoid copyright restrictions and to point to the problem encountered when trying to refer to visual images in discussions, as opposed to the relative freedom involved in quoting from written works.

Copyright for these images belongs to their makers. Titles and other relevant information are situated beneath the images. NB. some images are hotlinked to related animated images. The images are hotlinked to one place in which they appear within this web site. Each image may appear more than once though.
The images are aligned from left to right, so scroll across ...
helmetSidney Nolan, Kelly
[imagined detail], 1955,
ripolin enamel on hardboard
helmeta play on door, bed, helmet, hell met ... in the form of an imagic signifier, Diane Caney, 1998A photograph of Sid Caney's sculpture: bed of swings, 1995, forms the basis of this digitally reworked image, Diane Caney, 1998. (View a photograph of Sid's sculpture, bed of swings.)

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Diane Caney, 1998
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