Meg Hitchcock is known for text drawings that “incorporate and ‘cross pollinate’ the sacred writings of all spiritual traditions, suggesting that all religions derive from the same source,” as she describes. The tedium of assembling her acclaimed 2011 piece Obsession has itself been likened to an act of religious devotion: it took 135 hours to cut letters from an English translation of the Koran and glue them directly onto the gallery walls, ceiling, floor forming the entire “Book of Revelations” from the Bible in intricate patterns. The lack of spaces and punctuation and the sporadic insertion of a Hindu motif and passages from the Koran are intended to discourage a literal reading of the text. Shunning the dogma prevalent in all religions, Hitchcock focuses on “the universal need for connection with something greater than oneself,” she says.