Although still primarily based on her physical experience of chronic pain (the result of a serious accident), this new body of work is risk-taking, emblazoning a new direction in transforming her painstaking, mark-making process into a more sculptural and expressive genre using her own words for the first time.

"This exhibit, which represents two years of work," says Nehmad, "expanded my vocabulary of mark-making."

Her word-works, a product of many sleepless nights, in "Variations on a Meditation" consist of 42 sections.

They are burnt in reverse type on handmade paper and collagraphed (glued to a substrate of various materials and printed either in intaglio or a relief process) onto an aluminum substrate before being put through a printing press.

Groups of words such as "seductive, reductive, addictive, vindictive" and "lies, ties, sighs, cries, denies" emerge silvery from the aluminum underplate onto the neutral, textured paper surface.

Hung directly above this work is "Variation on a Meditation 4.0," an exciting 30-foot-long scroll of various papers, pyrography and graphite pencil.

The installation of this scroll is a work of art in itself. The white paper is also burnt sequentially and a layer of red transparent papers glow underneath its undulating mass. Nehmad uses the ceiling lights to her advantage as the folds of this paper scroll, mounted by clips and fishing line, are illuminated and the small sections of red paper conjure up the illusion of tiny flames.

This sculptural work, upon closer scrutiny, is marked by thousands of hand-written sequential numbers.

"The sequential numbers are about time passing," says Nehmad. "It is all a process, even the installation is a process. It, in itself, is a work of art.