As language is an integral part of Dorry Sack's visual work, every descriptor moves on thin ice; reading the titles of the works already provides some evidence.

Physically, materials and techniques are in the immediate vicinity. The thoughtful economy with which these two components are placed in a symbiotic context constitutes the key to the statement of the indispensable power of expression of each work as well as the misunderstandings which every written interpretation of that work inevitably causes.

A journalistic suggestion of the thread connecting the modest series of Dorry Sack seems therefore to be the most feasible.