Notes

"From the mid-Seventies, Karin Jaroszynska began to extend the iconographical boundaries of the intimate and curious world she had created.   In a fascinating range of large oil canvases she gave form to a unique community of mirror-image men and women, cloned from some doe-eyed, large-nosed, low-browed prototype of her remembering or dreaming.   These silent, listening figures inhabit their own time and space, ambiguous and remote from the here and now, alluding to a Mediaeval origin and yet unlike any actual Mediaeval scenes or images one can recall." Esmé Berman, Art & Artists of South Africa, Southern Book Publishers, third edition, 1996, p 222