{"id":1272,"date":"2026-04-01T21:05:39","date_gmt":"2026-04-01T21:05:39","guid":{"rendered":"https:\/\/miranda-maher.com\/?page_id=1272"},"modified":"2026-04-01T22:39:57","modified_gmt":"2026-04-01T22:39:57","slug":"land-yet-undiscovered","status":"publish","type":"page","link":"https:\/\/miranda-maher.com\/land-yet-undiscovered\/","title":{"rendered":"Lands Yet Undiscovered"},"content":{"rendered":"\t\t
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I generally construct my collage work through three interwoven layers. In Lands Yet Undiscovered<\/em>, the foundation is a circular map of Antarctica\u2014each one drawn from the era of its Western exploration, when vast regions were still marked by absence. The phrase \u201cLand Yet Undiscovered,\u201d taken from these maps, names not only geographic uncertainty, but a mindset: a projection of ownership onto what was not yet known, measured, or claimed.<\/p>

Centered within each map is an inked enso<\/em>\u2014a Zen circle that gestures toward cycles of time beyond human mapping. Where the map seeks to define, the enso opens: a mark of continuity, emptiness, and the limits of knowledge.<\/p>

The third layer consists of small, carefully placed elements drawn from decorative papers\u2014Indian marble paper or Japanese chiyogami\u2014introducing moments of pattern, interruption, and quiet ornament: small interruptions that echo trade, exchange, and the circulation of material culture that accompanied exploration<\/p>

Each work is constructed on handmade circular paper from India, reinforcing the recurring form of the circle: globe, boundary, cycle.<\/p>

Across the series, these elements sit in quiet tension\u2014cartography and gesture, control and surrender, the impulse to name and the recognition of what remains unknowable.<\/p>

Series of five. Each 22 inches in diameter. Reprinted historical maps, ink, Indian marble paper or Japanese chiyogami on handmade Indian paper.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\"Undiscovered<\/figure><\/div>
\"Undiscovered<\/figure><\/div>
\"Undiscovered<\/figure><\/div>
\"Undiscovered<\/figure><\/div>
\"Lands<\/figure><\/div>\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t
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<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

I generally construct my collage work through three interwoven layers. In Lands Yet Undiscovered, the foundation is a circular map of Antarctica\u2014each one drawn from the era of its Western exploration, when vast regions were still marked by absence. The phrase \u201cLand Yet Undiscovered,\u201d taken from these maps, names not only geographic uncertainty, but a mindset: a projection of ownership onto what was not yet known, measured, or claimed. Centered within each map is an inked enso\u2014a Zen circle that gestures toward cycles of time beyond human mapping. Where the map seeks to define, the enso opens: a mark of continuity, emptiness, and the limits of knowledge. The third layer consists of small, carefully placed elements drawn from decorative papers\u2014Indian marble paper or Japanese chiyogami\u2014introducing moments of pattern, interruption, and quiet ornament: small interruptions that echo trade, exchange, and the circulation of material culture that accompanied exploration Each work is constructed on handmade circular paper from India, reinforcing the recurring form of the circle: globe, boundary, cycle. Across the series, these elements sit in quiet tension\u2014cartography and gesture, control and surrender, the impulse to name and the recognition of what remains unknowable. Series of five. Each 22 inches in diameter. Reprinted historical maps, ink, Indian marble paper or Japanese chiyogami on handmade Indian paper.<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"nf_dc_page":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"class_list":["post-1272","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/miranda-maher.com\/wp-json\/wp\/v2\/pages\/1272","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/miranda-maher.com\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/miranda-maher.com\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/miranda-maher.com\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/miranda-maher.com\/wp-json\/wp\/v2\/comments?post=1272"}],"version-history":[{"count":5,"href":"https:\/\/miranda-maher.com\/wp-json\/wp\/v2\/pages\/1272\/revisions"}],"predecessor-version":[{"id":1293,"href":"https:\/\/miranda-maher.com\/wp-json\/wp\/v2\/pages\/1272\/revisions\/1293"}],"wp:attachment":[{"href":"https:\/\/miranda-maher.com\/wp-json\/wp\/v2\/media?parent=1272"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}