{"meta":{"version":"2.1","_links":{"self":{"href":"https://api.vam.ac.uk/v2/object/O1769238"},"collection_page":{"href":"https://collections.vam.ac.uk/item/O1769238/"}},"images":{"_primary_thumbnail":"https://framemark.vam.ac.uk/collections/2024NT2899/full/!100,100/0/default.jpg","_iiif_image":"https://framemark.vam.ac.uk/collections/2024NT2899/","_alt_iiif_image":[],"imageResolution":"high","_images_meta":[{"assetRef":"2024NT2899","copyright":"© Sarah Sense","sensitiveImage":false}]},"see_also":{"_iiif_pres":"https://iiif.vam.ac.uk/collections/O1769238/manifest.json","_alt_iiif_pres":[]}},"record":{"systemNumber":"O1769238","accessionNumber":"PH.439-2024","objectType":"Photograph","titles":[{"title":"Language of America","type":"assigned by artist"}],"summaryDescription":"Sarah Sense is an American visual artist with  Chitimacha and Choctaw heritage. This photo-weaving is  from ‘Power Lines’, a series begun during a 2019  fellowship at the British Library in London. To make the  work, Sense weaves British colonial maps of the  Eastern US with her own landscape  photographs. She uses Native basket weaving  techniques passed down through generations of  her family, reflecting the resistance and resilience  of Indigenous American communities. For Sense,  the act of combining old and new materials through  Native weaving patterns “re-indigenises the landscapes  whilst decolonising maps”.","physicalDescription":"","artistMakerPerson":[{"name":{"text":"Sarah Sense","id":"AUTH395092"},"association":{"text":"Artist","id":"AAT25103"},"note":""}],"artistMakerOrganisations":[],"artistMakerPeople":[],"materials":[{"text":"paper","id":"x30308"}],"techniques":[{"text":"woven","id":"AAT245805"}],"materialsAndTechniques":"Woven archival inkjet print on Hahnemuhle bamboo paper, artist tape. ","categories":[{"text":"Photographic Studies","id":"THES283122"},{"text":"Woman Artist","id":"THES387590"},{"text":"Woman photographer","id":"THES380381"}],"styles":[],"collectionCode":{"text":"DOP","id":"THES291628"},"images":["2024NT2899"],"imageResolution":"high","galleryLocations":[{"current":{"text":"LVLC","id":"THES49171"},"free":"","case":"TOAST","shelf":"","box":""}],"partTypes":[[{"text":"Photograph","id":"AAT46300"}]],"contentWarnings":[{"apprise":"","note":""}],"placesOfOrigin":[],"productionDates":[{"date":{"text":"2022","earliest":"2022-01-01","latest":"2022-12-31"},"association":{"text":"Made","id":"x28654"},"note":""}],"associatedObjects":[],"creditLine":"Purchase funded by the Photographs Acquisition Group","dimensions":[{"dimension":"Height","value":"67","unit":"cm","qualifier":"unframed","date":{"text":"","earliest":null,"latest":null},"part":"","note":""},{"dimension":"Width","value":"67","unit":"cm","qualifier":"Unframed","date":{"text":"","earliest":null,"latest":null},"part":"","note":""},{"dimension":"Height","value":"713","unit":"mm","qualifier":"framed","date":{"text":"","earliest":null,"latest":null},"part":"","note":""},{"dimension":"Width","value":"716","unit":"m","qualifier":"framed","date":{"text":"","earliest":null,"latest":null},"part":"","note":""},{"dimension":"Depth","value":"60","unit":"mm","qualifier":"framed","date":{"text":"","earliest":null,"latest":null},"part":"","note":""}],"dimensionsNote":"","marksAndInscriptions":[],"objectHistory":"","historicalContext":"","briefDescription":"Woven archival inkjet prints on Hahnemuhle bamboo paper by Sarah Sense, 'Language of America', 2022, from the series 'Power Lines'.","bibliographicReferences":[],"production":"","productionType":{"text":"","id":""},"contentDescription":"","contentPlaces":[],"associatedPlaces":[],"contentPerson":[],"associatedPerson":[],"contentOrganisations":[],"associatedOrganisations":[],"contentPeople":[],"associatedPeople":[],"contentEvents":[],"associatedEvents":[],"contentOthers":[],"contentConcepts":[],"contentLiteraryRefs":[],"galleryLabels":[{"text":"Cut Out: A Feminist History of Photo Collage, Montage and Assemblage by Fiona Rogers (V&A publishing, spring 2026)\r\n\r\nUsing traditional Indigenous American basket-weaving techniques inherited through her Choctaw and Chitimacha family, Sarah Sense’s Power Lines draws on the extensive collection of maps, manuscripts and rare books held in London’s British Library, to reengage with Britain’s role in the displacement of Indigenous American peoples and in land degradation. Sense’s series weaves together archival material with her own landscape photographs, creating physical matrices that merge histories, time periods and experiences. Her artworks illustrate the arbitrary nature of ever-changing borders, or ‘power lines’, that support ancestral land claims and the marginalization of Indigenous communities. In their defiance and inherited construction, the works are emblematic of resilience and resistance. ","date":{"text":"","earliest":null,"latest":null}}],"partNumbers":["PH.439-2024"],"accessionNumberNum":"439","accessionNumberPrefix":"PH","accessionYear":2024,"otherNumbers":[],"copyNumber":"","aspects":["WHOLE"],"assets":[],"recordModificationDate":"2026-02-17","recordCreationDate":"2023-11-15","availableToBook":false}}