July 2021 Available Paintings
The artist uses archival quality acrylic paint, heavy Indian cotton canvas
hand-stretched over professionally crafted wooden stretcher bars.
Paintings are textured with gesso and silica sand.
Artist signs each painting on the back. Shipped worldwide in custom crate.
Silver Veil over Light Blue 2021 40 x 78 x 1.5 inches $6450 USD
Grey & Blue Veil over Light 2021 84 x 36 x 1.5 inches $6450 USD
Fine Grey Lines over Light 2021 84 x 36 x 1.5 $6450 USD
Grey Veil over Light 2021 46 x 59 x 1.5 inches $4450 USD
Gentle Shower of Light 2019 Acrylic on Canvas 60 x 50 inches $4450 USD
Orange Veils over Light 2021 50 x 46 x 1.5 inches Acrylic on Canvas $4450 USD
March Radiance 2020 60” x 40” x 1.5” Acrylic on Canvas $4450 USD
Sunshine in February 2020 60” x 36” x 1.5” Acrylic on Canvas $4450 USD
Sunshine Gold 2021 Acrylic on Canvas 84” x 56” x 1.5” $8000 USD
A Happy Day 2020 60” x 36” x 1.5” Acrylic on Canvas $4450 USD
Sky Tapestry 2019 84” x 36” x 1.5” Acrylic on Canvas $5450 USD
Guardian of Light 2019 84” x 36 Acrylic on Canvas $5450 USD
Guardian of Light 2019 84” x 36 Acrylic on Canvas $5450 USD
Spring Energy 2021 90 x 24 x 1.5 inches$6450 USD
Glorious Rising II 2021 90 x 24 x 1.5 inches $6450
Passionate Ascension 2021 90 x 24 x 1.5 inches $6450 USD
Sunshine in June 2021 50 x 46 x 1.5 inches $4450 USD
Intensity of Soul 2020 50” x 40” x 1.5” Acrylic on Canvas $4450 USD
A Passionate Dance 2015 50 x 46 x 1.5 inches Acrylic on Canvas $4450 USD
October Optimism 2020 60” x 40” Acrylic on Canvas $4450 USD
Levity of Light 2020 60” x 40” Acrylic on Canvas $4450
Gold Resonance 2021 54 x 54 x 1.5 inches $5450 USD
Tapestry in Grey 2021 54 x 54 x 1.5 inches $5450 USD
Breathing Green 2021 60 x 50 x 1.5 inches Acrylic on Canvas $5450 USD
Field of Green 2021 60 x 50 x 1.5 inches Acrylic on Canvas $5450 USD
Blue Repose 2021 60 x 50 x 1.5 inches $5450 USD
A Warm Embrace 2020 60” x 50” x 1.5” Acrylic on Canvas $5450 USD
Soul Resonance 2019 64 x 48 Acrylic on Canvas $5450 USD
Jewel Earth 2019 64” x 48” Acrylic on Canvas $5450 USD
December Blue Field 2019 54” x 54” x 1.5” Acrylic on Canvas $5450 USD
Whisper of Warmth 2019 54” x 54” x 1.5 Acrylic on Canvas $5450 USD
Breathing Passion 2019 Acrylic on Canvas 50 x 60 x 1.5 inches $5450 USD
Rainbow Patina 2015 60” x 50” x 1.5” Acrylic on Canvas $5450 USD
Spring Poetry 2019 60 x 50 x 1.5 inches $5450 USD
Glorious Awakening 2019 60 x 50 x 1.5 inches $5450 USD
Silver Orange Patina 2018 60 x 36 Acrylic on Canvas $4450 USD (Currently in Switzerland)
A Day in July 2018 (Currently in Switzerland at the Halde Gallery)
An Afternoon in July 2018 50 x 46 inches Acrylic on Canvas $4450 USD (Currently in Switzerland)
Spring Celebration 2019 60 x 30 Acrylic on Canvas $4450 USD (Gallery Halde Switzerland)
Breathing Mystery 2018 Acrylic on Canvas 50 x 46 x 1.5 $4450 USD
Breathing Mystery 2018 Acrylic on Canvas 50 x 46 $4450 USD
Orange Grey Patina 2018 Acrylic on Canvas 60 x 40 x 1.5 inches $4450 USD
Spring Dance in Orange 2018 60 x 40 x 1.5 inches Acrylic on Canvas $4450 USD
Suspended Moment 2018 50 x 40 x 1.5 inches Acrylic on Canvas $4450 USD
Field of Warmth 2017 60 x 36 Acrylic on Canvas $4450 USD
June Green Field 2017 60 x 36 x 1.5 inches Acrylic on Canvas $4450 USD
Sunshiny Day 2019 36 x 36 x 1.5 inches Acrylic on Canvas $2700 USD
Alizarin Crimson Jewel Patina 2017 50 x 46 x 1.5 inches Acrylic on Canvas $4450 USD
White Veil Mystery 2017 84 x 56 x 1.5 inches Acrylic on Canvas $8000 USD
Yellow Veils 2008 72 x 48 1.5 inches Acrylic on Canvas $5450
Orange Energy 2015 50 x 40 x 1.5 inches Acrylic on Canvas $4450 USD
Green Veil over Blue 2014 60 x 50 x 1.5 inches Acrylic on Canvas $5450 USD
Cerulean Blue Patina 2011 90 x 66 x 1.5 inches Acrylic on Canvas $8500 USD
Cerulean Blue Patina 90 x 66 $8500 USD - Exhibited in La Jolla, CA
Fire and Rain 2012 64 x 48 x 1.5 inches Acrylic on Canvas $5450 USD
Green Veils over Light Blue 2014 64 x 48 x 1.5 inches Acrylic on Canvas $5450 USD
Green Energy 2011 36 x 36 1.5 inches Acrylic on Canvas $3000 CDN
Lemon Yellow 2016 50 x 40 x 1.5 inches Acrylic on Canvas $4450 USD
Yellow Rush 2016 60 x 50 x 1.5 inches Acrylic on Canvas $5450 USD
Unveiling Mystery 2016 50 x 60 x 1.5 inches Acrylic on Canvas $5450 USD
Butterfly Effect 2014 50 x 46 x 1.5 inches Acrylic on Canvas $4450 USD
Ochre Energy 2014 64 x 48 x 1.5 inches Acrylic on Canvas $5450 USD
Joy 2015 60 x 36 x 1.5 inchs Acrylic on Canvas $4450 USD
Okanagan Summer 2016 84 x 56 x 1.5 inches Acrylic on Canvas $7950 USD
Okanagan Summer 2016 84 x 56 Acrylic on Canvas $7950 USD
Magenta Sunrise 2016 84 x 56 x 1.5 inches Acrylic on Canvas $7950 USD
Magenta Sunrise 2016 84 x 56 x 1.5 inches Acrylic on Canvas $7950 USD
Yellow Inspiration 2016 84 x 56 Acrylic on Canvas $7950 USD
Light Blue Infinity 2010 90 x 66 x 1.5 inches Acrylic on Canvas $8500 USD
Breathing Gold 2018 90 x 66 x 1.5 inches $8500 USD
White Pastoral Field 2018 90 x 66 x 1.5 inches $8500 USD
Resting in a Field of Green 2018 90 x 66 x 1.5 $8500 USD
Warm Red Field 2018 90 x 66 x 1.5 $8500 USD
Blue Resonance 2021 83 x 66 x 1.5 inches $8500 USD
Earth Energy 2010 90 x 66 x 1.5 inches Acrylic on Canvas $8500 USD
Vermillion Red Field 2001 Acrylic on Canvas 88 x 64 $7950 USD
Soft Blue Field 2015 50 x 46 Acrylic on Canvas $4450 USD
Sky Energy 2016 50 x 40 x 1.5 inches Acrylic on Canvas $4450 USD
Small Light Blue Field 2010 50 x 40 x 1.5 inches Acrylic on Canvas $4450 USD
Equanimity 2016 50 x 40 x 1.5 inches Acrylic on Canvas $4450 USD
Eternal Night 2016 50 x 40 x 1.5 inches Acrylic on Canvas $4450 USD
Yellow Energy 2009 64 x 48 Acrylic on Canvas $5450 USD
Eternal Awakening 2010 50 x 60 Acrylic on Canvas $5450 USD
White Energy Field 2010 50 x 60 x 1.5 inches Acrylic on Canvas $5450 USD
Cadmium Orange Energy 2015 50 x 40 x 1.5 inches Acrylic on Canvas $4450 USD
Yellow Patina 2011 50 x 40 x 1.5 inches Acrylic on Canvas $4450 USD
HEIDI THOMPSON BFA, Swiss Dipl. Photography
Heidi Thompson was born in Vernon, British Columbia. After graduation, she moved to Europe where she studied
art at various academies. From 1975-1979 she attended the University of Art & Design Zürich earning a Swiss
Diploma for Professional Photography. In 1980 she studied painting at the Nürnberg Art Academy. Her final year in
Europe was at the Hungarian State University for Fine Art in Budapest. In 1982, Thompson returned to Canada
where she worked as a photographer, painter and book publisher. Currently, Thompson paints full time and
exhibits her work in Europe, Canada and the USA.
1956 - Born in Canada
1974-1979 University of Art & Design Zürich, Switzerland, earned Swiss Dipl. Photography
1980-1981 Academy of Art Nürnberg, Germany
1981-1982 Hungarian State Academy for Fine Art, Budapest, Hungary
2001-2002 B.C. Open University, Canada, earned B.F.A
2002-2003 University of Victoria, Canada, earned B.C. Teaching Certificate
1975-1979 - Vorkurs at the Kunstgewerbeschule Zürich (now the University of Art & Design Zürich) followed by a
three-year concentration in photography earning a Fahigkeitszeugnis (Swiss Diploma for Professional
1978 - Selected photographer to document the Zürich Chamber Orchestra for a solo photography exhibition.
Traveled with the orchestra photographing soloists including Yehudi Menuhin, Paul Tortelier, Peter-Lucas Graf and
Louis Duquenoy. The exhibition of 100 images were published into a book – the anniversary edition of the Zürich
1979 - Assigned photographer to document painter Robert Ryman before and during the opening of I.N.K.
(International Neue Kunst Gallery) Zürich.
1979-1980 - Apprenticed with the late German painter, Oskar Koller in Nürnberg, Germany.
1981-1982 - Studied painting at the Akademie fur Bildenden Kunste Nürnberg with Professor Ernst Weil. Outside
of school, became private student of Klaus Schmidt, former student of Austrian painter, Oskar Kokoschka.
Attended a 10-day Buddhist meditation retreat in Austria.
1982 - Completed first year of the five-year master’s art program, Kepzomuvezeti Foiskola (Hungarian Academy
for Fine Art) in Budapest under the instruction of Professor Kokas Ignacs.
1983 - Returned to Vernon, B.C. and established an art and photography studio. Exhibited paintings and
photographs in numerous cities in British Columbia and became member of the Viridian Gallery in New York.
1984 - Received the British Columbia Cultural Grant for preparation, travel and exhibition of a photography
project entitled "Portraits of Artists".
1986 - Took private instructions from illuminist painter, Leszek Forczek.
1995 - Wrote and published Recapitulation - A Journey by Sveva Caetani
1997 - Created and taught a meditation course for children in Vernon and Vancouver schools called Advanced
Attention Development. AAD was featured in a documentary film for CBC's Spilled Milk.
2001 - Earned a B.F.A., Open University of British Columbia.
2002 - Completed the Post-Secondary School Internship Program, University of Victoria. Received a British
Columbia Teaching Certificate (BCCT).
2012 - Wrote and published Calm Focus Joy - The Power of Breath Awareness
2013 – Speaker at TEDx Kelowna
2019 Peachland Art Gallery, The Light Within (Solo)
2019 Vernon Public Art Gallery, The Light Within (Solo)
2019 Halde Galerie, Switzerland, Aurora (Solo)
2018 New York Arco Gallery (Represented)
2017 Vancouver / Interior Design Fair
2016 Kelowna Airport / Kelowna Public Art Gallery "OK Sunshine"
2016 Vernon / Headbones Art Gallery /"Okanagan Artists"
2016 Ottawa / The Cube Gallery "Blue - A Group Show"
2015 Lake Country / Public Art Gallery "They Tell You Where to Go"
2015 Vancouver International Art Fair
2015 Palm Beach Gardens / Onessimo Art Gallery (represented)
2014 San Diego / Alexander Salazar Gallery
2014 Widen Switzerland / Galerie Halde (group)
2012 Montreal / Galerie D'Avignon (solo)
2012 La Jolla, CA / Alexander Salazar Contemporary Exhibits (solo)
2011 Armstrong Public Art Gallery / "Mind Space Energy"(solo)
2011 San Antonio, TX / Gallery Nord Exhibit "11/11/11"(group)
2011 San Diego / Alexander Salazar Art Gallery (solo)
2010 Atlanta / Bill Lowe Gallery "Bloom: The New Abstraction" (group)
2009 Atlanta / Bill Lowe Gallery (group)
2009 Toronto / Lausberg Contemporary (group)
2009 Vernon / Gallery Vertigo (solo)
2009 Toronto / Varley Art Gallery (group)
2009 New York / Lana Santorelli Gallery (group)
2008 Montreal / Galerie Samuel Lallouz (group)
2008 New York / Lana Santorelli Gallery (group)
2008 Grand Forks / Grand Forks Art Gallery (solo)
2007 Toronto / The Drawers - Headbones Art Gallery (represented)
2005 Vernon / Vernon Public Art Gallery (group)
2000 Vancouver / Howe Street Art Gallery (represented)
1996 Vernon / Headbones Art Gallery (solo)
1994 Vancouver / Simon Patrich Art Gallery (represented)
1992 New York / Viridian Art Gallery (represented)
1991 Kelowna / Kelowna City Hall (solo)
1991 Vancouver / Festival of the Arts (juried/group)
1989 Vancouver / Robson Square Media Centre (group)
1989 Vancouver / Community Arts Centre/BC Women Artists (solo)
1987 Vernon / Topham Brown Public Art Gallery (solo)
1985 Grand Forks / Grand Forks Public Art Gallery (solo)
1985 Kelowna / Kelowna Public Art Gallery (solo)
1983 Vancouver / BC Festival of the Arts (juried/group)
1981 Hungarian / State University (group)
1980 Nürnberg / Komm Youth Centre (solo)
2012 Senvest Canadian Collection
2007 Samuel Lallouz Private Collection, Galerie Samuel Lallouz, Montreal
2006 Mraz Collection, Toronto
2004 Private collection of Robert Keller, USA
2006 Corporate collection, Benefit Plan Administrators Inc. Mississauga
AWARDS & GRANTS
1996 VanCity Book of Excellence Award for the publication of Recapitulation
1984 B.C Cultural Project Grant through the Kelowna Art Gallery
PUBLICATION & ARTICLES
2016 "OK Sunshine Airport Exhibition" / Okanagan Life Guillian Richards / June 2016
2012 Wrote and published CALM FOCUS JOY: The Power of Breath Awareness
2007 Photographs & interview Okanagan Life
1995 Wrote and published RECAPITULATION - A Journey, by Sveva Caetani
1992 Featured Artist, Okanagan Life, written by Charlotte Berglund
1989 Illustrated and published an art journal for children, Little Bear Book
1989 Drawings, Galerie, Vancouver based magazine
1985 Illustrations for 4 books entitled, Reflections, written by Brock Tulley
1980 Photographs, Professional Camera, May-June issue, Germany
1979 100 Photographs published into a book, Zurich Chamber Orchestra's 25 Year Anniversary
Alexander Salazar Fine Art , San Diego 2014
THE ESSENCE OF MANIFESTATION: THE ABSTRACTIONS OF HEIDI THOMPSON
JAMES D. CAMPBELL, CANADIAN ART CRITIC AND CURATOR
“The progression of a painter's work as it travels in time from point to point, will be toward clarity… toward the
elimination of all obstacles between the painter and the idea… and the idea and the observer.. To achieve this
clarity is inevitably to be understood.” -- Mark Rothko
It is a rare phenomenon to experience abstractions that speak directly to the heart. No word of representation,
but the idiom is immediately and immanently understood. Not as a panacea for existential conditions outside of
painting, but a tribute to an intrinsically healing art that values clarity above all else.
Claude Tousignant, one of Canada’s premier abstractionists, has often spoken of his insistent desire to create
paintings that are objects in their own right. He wants to void all referents to a world outside paintings that are
made to induce sensation alone. Indeed, for him, the sovereign thinghood of a painting Is the only signification
worth fighting for. Well, his remark resonates when we spend time with Heidi Thompson’s resplendent new work.
But her paintings are far from mute or self-contained objects, and are not predicated upon emptying out all
references to the external world. Instead, they seem to irradiate the void with something that is palpably Mind,
and well, they simply are. Indeed, the remarkable thing about her abstractions is the lasting claim they stake upon
us. They are magnetic things. They pull us into their orbits, and we are complicit in the making of meaning through
contemplation. In this sense, they are like mandalas, mantras and mudras. They coax out of us the sounds of
silence, body and soul. Through their sensuous presences, they lead us not into taxonomy but into an appreciation
of the colour field as a living entity, somehow inhaling and exhaling alongside us.
The dynamism of this work is in the reception, not in the utopian signifiers of colour and form. The myriad
luminescences that unfold in the surfaces of these paintings are like solar flares, but without any deleterious
effects. Instead, they settle within us like tiered textures of light that buoy us up.
The philosopher Michel Henry defines life -- within a phenomenological perspective -- as that which possesses
"the faculty and the power to feel and to experience oneself in every point of its being". Similarly, Heidi
Thompson in her abstractions incarnates life as force and affect through chroma and chromatic density alone, and
does so in order to lead us out of darkness into joy. Hers’ are paintings of radical immanence, which herald the
way towards pure thought. Her paintings are pulsating and effulgent affirmations of life. The painter Jaison
Cianelli has said:
“When you see a clear river you're less afraid to go out into its deep waters. It's peaceful. You stay in it longer, and
you even let your feet touch its bottom. Like a crystal clear river, a clear mind is the key to being at peace and
living in the present moment. A mind filled with the murkiness of worry and haste is a confused and overloaded
mind that will increase stress, lower productivity and lead the way to unhappiness and ill health. I have found that
by painting intuitively, not only do I clear my mind, but I receive spiritual healing seated deep within my heart.” 
Heidi Thompson is a painter of intuition. Her work speaks directly to heart and mind. She also practices
meditation. Perhaps this practice inflects and sustains paintings that are about clarity, above all. If I call her
painting ‘healing’ here, it is because I have been changed by her art. Indeed, I salute her resilient spirit of
affirmation, meditative intensity – and, not least, her pursuit of the clarity of which Rothko so eloquently spoke.
1. See Michel Henry, at http://www.wikipedia.org/.
1. Painting a Spiritual Journey Inward - Art as Meditation
by Jaison Cianelli http://www.newageinfo.com/painting-spiritual-meditation.htm
James D. Campbell is an independent curator and art writer living in Montréal who has published numerous monographs,
essays and reviews. Recently curated exhibitions, which were accompanied by catalogues, include Ron Martin, The Geometric
Painting: 1981-1985 and Murray Favro: The Guitars 1966-1989 at the Mackenzie Art Gallery in Regina, and Abstract Practices
II at The Power Plant in Toronto. He also lectures on photography and contemporary art and is a regular contributor to art
periodicals such as C Magazine.
HEIDI THOMPSON: THERE IS NO ANSWER
A REVIEW BY JOHN K. GRANDE, Canadian Art Critic
Attuned to the artist’s role as a medium, Heidi Thompson works with the physics of nature. The artist becomes
a conduit for energy, engaging in a painterly process that involves intuition and an inner dynamic so contrary to
the expressionist works Thompson produced earlier in her career.
These paintings are anti-form and all about the physics of the moment that exists in many moments, in fact
stands outside time. Therein lies the challenge and the invitation! We are not involved in recognizing anything
when we look at a Heidi Thompson painting. We are receivers looking into a brilliant spectacle.
A series of gestures leads to an event that the artist is part of. After priming the canvas, Thompson textures its
surface with random clumps and splatters of gesso and sand. After this dries, she seals the porous, rough
surface with another coat of primer. The process is ongoing and all about revealing what is already there. The
combinatory ways that paint and matter come together become the artist’s guide. Neither dominating, nor
controlling the outcome of a composition, Heidi Thompson is able to work with the medium of paint,
deliberately flicking the material with a small fan brush in a controlled splattering thus orchestrating the colour,
light and surface vibration.
Chaos and a conscious control exist in tandem. The artist becomes the balance between spirit and matter. It is
magic how a painting comes about. The canvas becomes a receiver that accepts the artist’s intervention, and
the artist distill the effects as they build up, occasionally removing paint, or orchestrating the event and actions.
The ultimate feeling these paintings conjure up is akin to sound, or atmospheres with background radiance.
Visually we feel the painter’s controlled actions, but as an event that is not frozen in time as if caught in the
parentheses of intention. Instead, the action suggests continual and conscious mutability of the medium with
change ever present and this unknown quantity - energy. These paintings have depths and as we observe the
microcosmic details close-up we sense a distancing, and close-up could be far away. Ultimately there is no
distance, and microcosmic could as readily be macrocosmic.
As “abstract” art, if ever the term had a precise meaning as all paintings occupy real space and time, Heidi Thompson’s pro
to Mark Tobey, Jackson Pollock, Mark Rothko and Indian-born Natvar Bhavsar for her recent paintings have a soulful radia
part of a fluid reading of reality. Thompson does not perceive art as a building process whereby the object becomes a co
containable result of actions.
Depending on her state of mind, Thompson will chose one of several painting techniques and approaches. Her
recent work usually is about constructing--to build up of layers of fine lines so they become a consummate map
of multiple actions we read depths into. The process of creating and building up results in a delicate interweave,
a field of coloured lines that cover the canvas in a very conscious and deliberate way. Every speck, every dot, or
splatter seems to be carefully examined, felt, and applied. The painting ultimately manifests and resonates
intuitively with an unconscious dimensionality.
Particle physics comes to mind when looking at each of these paintings, for they engage in a dialogue of form
and content. There is no labeling or identification with conventional representation, nor is the shaping, or
containment of form part of the language of Thompson’s art. Superficially they can be compared to Seurat’s
pointillist paintings such as A Sunday Afternoon on the Island of La Grand Jatte (1884) for the particularization
of matter ends up creating a kind of tonal vibration throughout. This will send a chill up your spine if you tune
into it. Contemplative and poetic, these paintings by Heidi Thompson invite contemplation for the surface
carries a gentle and harmonious action while remaining set in the materiality of the moment. And this
materiality suggests an infinite and invisible journey, one we are all embarked on, that is ongoing. Thompson’s
paintings evoke a real nature in that her process is less about the ego-systems of historical progression that
Abstract Expressionism and modernism were all about, but instead suggests a basic respect for the ecosystem
of body and mind and spirit and the nature that all art is part of.
From molecular to cosmic, these paintings are not trapped in a world of built and projected imagery, but
involve a dialogue between self and other, and embrace an inter-cultural vision of painting whose codes and
cues remain open, receptive, less about containment than suggestion, intuited and momentary inception, and
the progression is for us to discover with our eyes, our senses, without judgment. We perceive proprioceptively
and we feel what we perceive. Perception becomes a history of understanding that stems from childhood
through to old age, and this history involves a language of bodily response, visuality and recognition. What
becomes most interesting is the way we perceive without recognition as part of our cognitive and bodily
physical essence. Heidi Thompson’s paintings present fields of events, all simultaneous and relativistic. We
experience her vision consciously in this way, and but the feeling these works project is of unconscious effect.
As Heidi Thompson says, “When one's sharpened attention is directed inwardly, not to the imagination but to
the physical sensations, another dimension of reality takes place. Experiencing this subtle, vibratory feeling
within my body has influenced my painting style, technique and image.“
Chance and change are in these paintings, a controlled chaos, as sensitive as whispers, tiny as traces, with a
flow as immeasurable and hidden as rivulets, and with fine lines, those tones, various shades, chiming colour
always. As tiny as each of these contributing elements is, they are central elements, and build into resonant
rhythm - this artist’s crescendo is modest, flexible, ongoing and resonant. Heidi Thompson’s art is, like nature,
that eternal backdrop to everything we do and live with and in, is part of an endless cycle. That is a great
mystery to be part of! - John K. Grande
JOHN GRANDE is an art critic, writer, lecturer and interviewer. John Grande's reviews and feature articles have been
published extensively in Artforum, Vice Versa, Sculpture, Art Papers, British Journal of Photography, Espace Sculpture,
Public Art Review, Vie des Arts, Art On Paper, Circa & Canadian Forum. He is also the author of Balance: Art and Nature (a
newly expanded edition by Black Rose Books in, 2004), Intertwining: Landscape, Technology, Issues, Artists (Black Rose
Books, 1998), Jouer avec le feu: Armand Vaillancourt: Sculpteur engagé (Lanctot, 2001), and his most recent book,
Dialogues in Diversity: Marginal to Mainstream published in Italy in 2007 by Pari Publishing.