Catherine Adams is a photographer, writer, and developmental editor of book manuscripts.  Born in Germany in 1972, her first memory is of being on a plane over the Atlantic, looking out the window and drawing in a notepad.  She has sought art and the grand voyage ever since.  In-between acquiring a master’s degree in art history and pursuing Ph.D. Studies (University of Iowa, USA), Catherine spent a year in India researching sari production, interviewing weavers throughout the country and cataloging pieces in the national handlooms museum.  This ignited a passion for exploring the ways cultures and people meet the needs of today and negotiate their pasts.  Leaving behind the academic path of an art historian, she built a design and editing business (Inkslinger Editing) helping artists and writers craft and present the written word.  Having lived in widely different places around the world, including Paris, Berlin, San Francisco, New Delhi, Oklahoma, and New York City, she now seeks the nomadic life as she pursues through art and writing questions of civilization, ruins, aesthetics, and representation.  In the opening of 2018, she inaugurated what she calls her Peregrination Project, an ongoing photographic and writing project situating her in places and communities little known or little understood in the U.S. for historical, religious, or political reasons, such as Lebanon in Middle East or the once Soviet bloc countries in Eurasia and Central Asia.  In the first session of this project, she traveled solo for four months tracking the path of civilization from the Levant and onto the Silk Road.  While on the route to ancient and modern ruins, she encountered the contemporary development of communities and of nations as they transition out of war and old overlords.  Out of these experiences came “On the Route to Ruins: From Baalbek to Bukhara”: part documentary of contemporary life, part lyric meditation on civilization, and part light-paintings of awe.

The Acute Charm of Ruin & Development, #1 (Plaza Vieja), Havana, Cuba, 2017.