Nancy Spencer
BirthMessageRare BirdsMan as Ruler: DickbrainUniversal Woman Proudly Displaying Rubberband Ball, Two Years in the MakingUniversal Man Searching for the Meaning of Life in a World of ClichesIllegitimate: Heir Ominous Bush OiligarchyElvis, Jesus and CokeEvolushinJim and Tammy Faye — HeavenboundMoonrise Over Manifest Destiny (Asphalt Prairie)Walking the Straight and NarrowWoman as Virgin or WhoreMiss AmericaWoman as WitchProphetMonkey in the BoxAxis of EvilSeven Deadly SinsUnclean—Leviticus 12:1-5Golden Lotus Beauty Puzzle IGolden Lotus Beauty Puzzle IIWhite HandWinky—Carnival Loser's PrizeTopsy and the Ghost of Jim CrowTopsy and the Ghost of Jim CrowBrothers, We've Been Swindled, Gypped, Peeled, Cleaned and Swammied"Visca Versca"—PopeyeMonkey TimeSanto Mickey RatonWomen Saved from ThemselvesPeople as PigsOnward Christian SoldiersTicket to AuschwitzTroubled ChildDevil as BogeymanClipped8/8/88A Woman Should Never Leave Home Without Her MarblesRainbow SerpentSkin and BonesEnd of the WorldThirteen Moons
on deaf ears
The pinhole images and assemblages in “on deaf ears” are a collaboration between Eric Renner and Nancy Spencer. Twenty years ago, we began constructing assemblages, many of which dealt with social issues of human rights, religion, sexuality, and stereotypes. On a lighter note, we also made assemblages dealing with Mickey Mouse, Elvis, Marilyn, and our own relationship. Our assemblages have been greatly influenced by passages in "The Women's Encyclopedia of Myths and Secrets" by Barbara G. Walker.

In the summer of 2001, we began photographing segments of our assemblages with a pinhole camera, thus creating a second body of work separate from the assemblages. We did not originally construct the assemblages with the intent of photographing them. In making the photographs and concentrating on small details, we realized there was the possibility of an altered context in making two dimensional images of our three dimensional assemblages. The pinhole images make use of color shifts due to long exposures (6-8 minutes), vignetting, and altered perspectives enhanced by our choice of placement of the wide-angle pinhole camera.

This body of work is on-going. We continue to build assemblages; some of them we photograph.