In “Mother / Father” I visually intertwine the remnants of my father’s sculptures with the remnants of my mother’s ornamental embroidery. My father, who was an academically trained sculptor, died before the Serbo-Croatian war. In the post-war period, his work remained inaccessible to my family, for years on the “wrong” side of the Danube. After we were allowed to transport the work, much of it was damaged or completely lost in the fire that destroyed our house – for example, the white marble bust, which broke in two. While I always thought of my father as the one who was artistically expressive (since he was formally educated as a sculptor) and therefore his work inherently entitled to preservation, I have only recently begun to acknowledge the tacit and unrecognized beauty of the ornamental, floral embroidery in my mother’s work. In many ways, women’s floral embroidery was clearly the “other” to the dominant institutionalized artistic expression. The peasant floral embroidery in my matrilineal tradition, which she was obliged to do as a female child, and which she recently recovered from Bosnia, lives on the margins of aesthetic recognition.