Karoline’s work attests to what may be imperceptible to the living – the shifts in handwriting style that can make 100-year-old letters nearly illegible to untrained contemporary viewers, even if written in the reader's native tongue. And, perhaps, to the eventual possibility of the loss of languages themselves, as when the news announces, all too often, that the last native speaker of yet another indigenous language has died. Karoline’s gestural reversals, which in truth can be deciphered, nevertheless raise the question of our assumptions about decipherability, literacy, and more broadly, communication in general: its effectiveness, possibilities, and potential for misunderstanding, but also to the beauty of the forms of signifiers, spoken or written, when freed from obligation to their signifieds. Karoline’s word ghosts call our attention to the potentials of words: words set to music, or words in a poem whose weighty presence expands exponentially when liberated from daily use and given the chance to fully mean, and yet also to be part of a powerful and deliberate slippage of meaning from word to word. They remind us that, since we can’t not try to read them, that we are born into language as into the air we breathe, and that our psyches, our neural connections, are formed and changed based on the words around us. As much as water or carbon, we are formed by words, made of words and their echoes. Reversed, Karoline's letters and words lose their specific signification and are free to evoke letters - that is, epistles, not characters - and the already antiquated joy of seeing the handwriting of one's beloveds.
~ Dr. Elizabeth Howie, Ph. D Art History, University of North Carolina