To inquire about a custom commission or display, please email Auden at audengranger@gmail.com. For information about custom ketubahs, visit audengranger.com/ketubah.
Pieces marked with an asterisk are available for sale.
Prints of ‘Inside the Inside,’ ‘Ghost of a Room With a High Door,’ ‘Perhaps to Gain a Little Time,’ and ‘Searching for Shipwrecks’ are available at audengranger.com/store.
*"Inside The Inside" (2022). 7.5"x9.5". A collage piece in shades of blue and black. At the center point of what looks like ripples in a pond is a bouquet of matches, lit and burning fiercely. Overlapping lines of color swirl behind it, teal and blue-green near the center fading at the edges to dark blue and black. Text curls around the flame: "inside the dark / inside the inside / dancing in the smoke / faint and faraway." Photo by Belén Romero.
*"Searching for Shipwrecks #2" (2024). 7"x8". A large natural arch of red rock — The Window at Canyon de Chelly — frames a swirling teal sky/sea beyond, made out of overlapping strips of colored paper. Floating through the window and across the sky/sea are two massive jellyfish, sunrise pink and orange. Photo by Belén Romero.
*"All of This Can Be Broken" (2023). 8.5"x11". A work of paper collage in shades of deep blue and gold. in the center is a composite photograph of a skeleton, x-rayed through the burial wrappings. The figure is edged in gold, surrounded in turn by interlocking, twisting lines of deep blue, like ripples out from the center. Blocky, overlapping gold letters frame the image: ALL OF THIS CAN BE BROKEN. Photo by Belén Romero.
*"Learning to Live Underwater" (2022). 9"x12". A collage piece made up of a cascading array of blue pills surrounded by mirror-like text. The background is shades of white in overlapping lines, with lines of text half-legible curled in it — medication paperwork with side effects and drug information. Across the middle float various pills in different shapes and sizes, all in shades of blue. Surrounding the pills is text in large block letters, shimmery and reflective: 'LEARNING TO LIVE UNDERWATER.' Currently on display at Access Living.
*"Ghost of a Room with a High Door" (2024). A collage piece in shades of blue, black, and shimmering silver. Strips of paper are laid out in loose concentric circles, like a night sky full of stars seen through timelapse. Stars and constellation maps appear in the individual mosaic components. In the foreground is a photograph of a large blue-white glacier, with text framing an arch between the glacial peaks: "GHOST OF A ROOM WITH A HIGH DOOR"
*"Perhaps To Gain A Little Time" (2021). 4.5"x7". A small collage piece made up of two torn black and white photographs. One shows a group of young women cuddling puppies and the other a woman in a field of daisies. In between them, curling strips of paper with the range of textures of vintage photographs, meander like a river through a canyon. Text over the top follows the strips, reading "perhaps to gain a little time" in clear, serif letters. Photo by Belén Romero.
*"Hallelujah, Hallelujah" (2020). 8"x8.75". A paper collage. Chunks of pomegranate are scattered across the page, blood red seeds caught amid swirling lines of yellow and gold. Text: "to pray with transgressors / Hallelujah / Hallelujah". Photo by Belén Romero.
"We Are All in the Gutter, Looking Up at the Stars" (2024). A paper collage piece. Seen from below, as if lying on your back in the street, are two sets of square terracotta buildings with open shutters and slightly overhanging metal roofs. Between them, the sky is swirling, shimmering blue, silver, and black, with patterns of stars and constellation maps, loosely circular, like the rotation of the Earth.
"Gesher Tzar Me'od" (2024). 5.5"x7". A paper collage piece made up of a watermelon above a field of swirling white, gray, and black. Black seeds fall from the watermelon like tears over lines of calligraphied Hebrew and strips from black and white photographs.
"Seeds of Solidarity" (2025). 14"x14". A paper collage piece in the pattern of a Palestinian keffiyeh, with black diamond shapes weaving over a white background. At the center of each diamond is a vivid red pomegranate aril, like a drop of blood. The white background is made up entirely of strips of text, overlapping and partially obscured, in many languages and fonts, including Hebrew and English.
*"Ill At Ease" (2024). 7.5"x9.5". A paper mosaic piece. Eight orange pill bottles are laid out against a bright blue marbled background. The pill bottles are constructed out of small segments of translucent orange material so that they appear like stained glass. Each features a letter in ornately embossed gold paper, spelling out the words "ILL AT EASE".] Currently on display at Access Living.
*"Never Quite Escape" (2023). 4.5"x7". A paper collage piece in shades of pale blue and translucent gray. At the center is a photograph of a portion of a woman's face, buried under the criss-crossing, swirling lines of collaged paper. She's covered in clear plastic, warping the view of her still face underneath. The crumple and translucence of the plastic is imitated in the paper over her, giving the impression that she's buried beneath it. Above and below her are swirling lines of silver gingko leaves and worn, battered text: "Do you ever feel that way? Like you can never quite escape?"
*"Loving and Unsteady Hands" (2024). 5.5"x7.5". A paper collage piece in deep blues, silver, and soft whites. A flowering yellow dandelion is framed by overlapping, twisting lines of blue paper, backed with silver. Something resembling a moon or a dandelion gone to seed and windblown seeds swirl in the background. The flower is held delicately between two open and overlapping hands. Small italics text below reads: "held by loving and unsteady hands."
"Birkat Habayit" (2022). 8.5"x8.5". A collage piece in shades of deep teal blue and dusty red, overlaid with blood-red pomegranate chunks. The pomegranates are poised over a circular background, a bright gold center surrounded by a straight spiral of blue, then an uneven overlapping edge of faded red-brown. Around the edges of the circle are lines of text in English and Hebrew, partially obscured by the pomegranates in each quadrant: Birkat Habayit, the Jewish blessing for the home. Photo by Belén Romero.
*"A World Away" (2024). 5"x6.5". A paper collage of a swirling, roiling sea against a cloudy sky. The sea is made up entirely of segments of maps in shades of blue, parts of place names and geologic features coming in and out of view. Text at the center, clearly pulled from some kind of larger writing, reads, "you must know that I live a world away".]
*"I Do Feel Small" (2023). 6.5"x10". A paper collage piece. A photograph of a dandelion gone to seed is haloed in swirling lines of rich, cornflower blue paper, like the center of a rippling pond. Blown like wind and seeds across the page are segments of textured, translucent white and gold, and the words "I do feel small."
*"As You Are So Shall I Be" (2024). 8"x8.5". Two photographs of the artist are laid face to face, like the heads of playing cards, against shimmering red halos. One photo is damaged, peeled and darkened with decay. Text arcs between the profiles against swirling teal lines and a background image of a jawbone buried in rich dirt: "I will be beautiful / in my casket." Currently on display at Access Living.
"Throw My Better Self Overboard" (2021). An art piece made of segments of colored plastic, laid out in lines to create overlapping waves in shades of blue and green. Text in Dymo-style block lettering winds through it: “THROW MY BETTER SELF OVERBOARD”. The work shines like stained glass when seen through light.
"Words Fail Me" (2020). A paper collage piece. A scene of sky and ocean, where the waves are made up of lines of text: "mirror held up: me, like her"; "there in the rain"; "seemingly by necessity, by terror"; etc. Above them, in the tumultuous blue sky, is a single line: "where words fail me."
*"My People Are Part of the Soil / This Is Not My Grave" (2024). A work of paper mosaic featuring bright, metallic purple tree roots extending from a stump at the center of concentric circles. The circles are like tree rings, each made up of small segments of paper. Half of the rings are rich brown, like soil, the other half vibrant, starry blue. The roots extend disconcertingly into the sky rather than the earth. Featured on the cover of UIC's Disability and Human Development Department's Annual Report 2024.
*"Keith Haring in Color" (2025). A Keith Haring painting in his typical style, where simple line-drawn human silhouettes fill the frame, limbs fitting into the spaces left by the other figures. The thick white lines of the silhouettes against the black background give the appearance of a maze. Three of the figures have been cut out and filled with swirling lines of colorful paper — teal, orange and gold, and lime green.
*"This Is A Game With Mirrors" (2024). A paper collage piece of antique photographs, their backgrounds cut out and replaced with sections of concentric lines, blue and black and silver like a constellation map or timelapse photo of the night sky. The photographs are arranged so that the backgrounds make a disjointed circle over a background of swirling lines of white and cream paper, partially revealing type and handwritten material.
*"Kinehora 1" (2024). Apaper collage of nazars, charms against the evil eye shaped like eyes themselves, against a swirling red and gold background.
*"Heaven is Here, Now, Streaming Through" (2025). A paper collage piece shows Delicate Arch in Arches National Park. Instead of a view of the landscape behind, the space under the arch is filled with a stone archway with statues of saints in alcoves, mirroring the shape of the natural stone.This element is surrounded by a halo of collaged type, all taken from religious texts, and a rectangular segment of silver swirls edged in orange. Silver text along the edge of the halo reads "heaven is streaming through."
*"To Endure Ambiguity" (2024). 9"x9.5" A square collage piece made up of small segments of paper like mosaic tiles. A bright sea of overlapping, swirling lines of vivid oranges and yellows surround an image of Peggy's Cove Lighthouse. Wedges of warm purple extend from it like beams of light, reaching out past the frame into a purple border. Text from an old-fashioned label maker in orange along the beams of light reads, "TO ENDURE AMBIGUITY / AND SHINE LIGHT THROUGH IT".
*"The Blue That Lasts " (2022). 7.75"x8". A paper mosaic of overlapping strips of colored paper, fluidly arrayed in a smooth gradiant from almost white to deep navy blue.
*"Sun Over Sea" (2026). 5.5x10.5". A narrow 5.5x10.5" mosaic made out of small segments of translucent plastic. A yellow sun half-rises on the horizon above a swirling ocean in rich shades of blue. The medium makes the piece look almost liquid.
"Something Hidden Within You" (2021). A paper collage piece. Lines of overlapping teal and blue-green are shot through with bright red. Three fingers, stained as if dipped in blood, extend outward, reaching. Text at each fingertip, also in bright red, reads, “waiting to see if something hidden within you will be revealed.”
"Draw A Breath, Draw A Breath" (2021). A large collage piece in shades of blue, gold, and red. the blue and red stretch in large whorls and overlapping lines across the page. Where they meet in the middle, the horizon line is covered with a series of blurry black and white photos with gold photo corners. The photos are of people, all of them double-exposed or obscured in some way. Above and below the photos are curling lines of gold flowers and leaves. Text reads: "draw a breath / draw a breath."
*"As Good As It Gets" (2024). 8.5"x12". A collage piece in blue and white, framed in gold. Two photos of the artist in profile are lined up at angles facing each other, one upside down. One is completely obscured in translucent blue swirling lines, while the other is only slightly obscured by a similar clear overlay. Text in shimmering gold over each face reads, WHAT IF THIS IS AS GOOD AS IT GETS? // MAYBE THIS IS AS GOOD AS IT GETS. The piece can also be turned upside down, prioritizing either the clearer face and more resigned text or the more obscured face and more questioning text. Currently on display at Access Living.
"A Day When You'll Feel Better" (2020). 5"x7". A paper collaged jellyfish made out of strips of pink and translucent paper, laid out against a mosaic-style blue background of waves criss-crossing over and into one another. Shimmery gold hand-cut text over reads "THERE'S GONNA COME A DAY WHEN YOU'LL FEEL BETTER".
"Ashamnu" (2021). A small collage with a photo of a low-burning forest fire. Laid over the top is a curling line of orange and yellow collaged paper, coming up from a burning place in the photo like rising flames, emerging over the scene and continuing out of frame. Small white-on-black text in the corner reads simply, "we waited we waited we waited".