“The exploitation of a world reduced to a bottom line coupled with the social disillusionment underpinning is a theme threaded through the anthology of my work.”
Q: Would you consider yourself a renaissance women?
A: Always felt that term is a bit pretentious, but as an artist I do work across a myriad of different media; film, video, installation, photography, sculpture, sound and text, always learning new technical approaches to employ.
Q: Julian Schnabel got criticized for doing film and painting, what do you have to say about this?
Q: Do you feel like critics and in general people try to put you in a labeled box?
A: I don’t pay much attention or care what people think.
Q: Has there been someone in your family that has had a profound influence on you and your work?
A: My interest in art was sparked at an early age by my father, who himself is a painter. His prolific oeuvre not only impacted how I experiment with color, but inspired me to develop an ambitious practice. Although our subject matter and approach could not be more different. In contrast to his traditional watercolor portraits, my work is politically entrenched with a surrealist satire interrogating the tensions surroundings exploitation, gender and the environment.
Q: Describe yourself, as if no one could read about you on the internet…art, your life, funny habits, what people would say about you?
A: Creative recluse environmentalist
Q: I felt I could see the connection throughout all of your work, I find your style quite noticeable. There is a question here… how did you come to this style of story telling? I see bold, yet subtle enough messages spilling out everywhere.
A: The story of my life is the story of the world. In its exhaustible invention of deduction and speculation, the medium of capturing images is nothing more than a chemically processed imprint causally connected to reality- while photo montages are bound to neither truth nor objectivity, yet the subjective and universal both emerge.
“For me, the world insists on being revealed — my documentation of it manifest as an abstraction of the bigger picture.
“The vices of the first world are the burden of the third.”