The works presented in this chapter engage in a dialogue between the Mother Land and motherhood.
Much of the works created in the 90’s are associated with nourishment such as baby powder milk, honey, and olives and they resemble womb-like interiors (beehives, barrels and boxes). The red color is intrinsic to many of the pieces, a color chosen in 1994 to lightened the beehives, probably since it is the color of blood and that of passion, a duality also reflected in the bees whom in ancient times were connected to the birth and death of the soul and yet symbolized as well the motherliness of earth.
The works with olives belongs to this chapter too, as the symbol of a nurturing and bountiful yet ambiguous motherland. Olive trees being deep-rooted in the surrounding landscape and its fruit a genuine element in culinary habits, the olive branch is also an abstract symbol of peace and yet in time of conflicts, trees are uprooted and their harvest often violently hindered.
Works related to Wounded Land can also be included in that chapter as well, since many of its works relate to the healing of geographical maps or the dressing of a wound in the landscape. The seamstress, a major character in this body of work, while evoking feminine mythic weavers across continents, carries symbolic healing faculties and revives a feminine silent protest in an attempt to weave an alternative fate.