I was once in Jerusalem for a show as a guest of an Italian development organisation. I have kept a “Jerusalem” sketchbook ever since then. It is as complicated as the city it captures: an upside-down pathway with two entrances: one for the Arabic part, and another for the Hebrew part. At each end, the writing is different; dissimilar modulations of the same Semitic voice. The Arabic part begins with a tiny portrait of the Old City painted from a great spot on the Mount of Olives.