Iterations / Alterations

In Iterations/Alterations, Catherine Griffiths expands upon her past work, W in Black (2017)—two algorithmic compositions, five ‘W’s made in support of the Women’s March protesting the inauguration of the US president—with W in Blood (2025), in response to the blood on the hands of world leaders complicit in the Zionist project. The artist refers to this iteration of the works at Enjoy as a diptych with void, referencing the walls standing adjacent to each other with the open space between them acting as a void—a place for visitors to pause for thought. Griffiths has been interrogating her own priorities and perspectives. Returning to What is my threshold now? (2017/2024), she questions what really matters and where her practice sits within the context of “a genocide being committed by Israel against Palestinians in Gaza playing out in real-time on social media.” [1] The GAZ/A series (2024) came about as a result of Griffiths’ time spent in Paris during 2023 and 2024, when she began documenting the cast iron gas covers she saw throughout the streets. The resulting concertina features a selection of photographs of these GAZ covers with Griffiths’ hand drawn ‘A’ atop them. GAZ/A scrutinizes “Israel's premeditated intentions to displace the Palestinians from their historical lands and confiscate their natural resources.” [2] Included in this exhibition is a limited edition run of GAZ/A prints—77% of the proceeds from which will go to a charity supporting Palestinians in Gaza, the Gaza Great Minds Foundation.

1. Correspondence with the artist, 06/01/2025.

2. Walid Abuhelal, "The War on Gaza is also an Israeli drive to seize Palestinian gas reserves”, Middle East Eye, 20 February 2024.