The goal of my work is not to harm myself. I start with the image/idea and work backward through the logistics. If I am doing something dangerous- like covering myself with bees or falling in a frozen lake- quite a bit of research goes into the work before we start rolling.
It's been quite a mentally violent "awakening". OVERLAY is actually a poetic answer to the kind of violence we are enduring, especially as that violence relates to women's bodies and women's civil, political and personal rights.
It’s crucial to me that what I offer to the viewer remains as open as it can be, open to interpretation and all sorts of feelings. All of my work is about that, about facilitating feelings and allowing the viewer to be responsive.
What we found was very violent, very powerful. I wanted the real thing. Not After Effects and postproduction. You don’t cheat.
The founders of Alt + Esc share why they’re rebelling against the traditional art world.
Established and emerging artists share rooms, for free, in underused and historic New York City spaces. We approve everything that comes in, not only for quality control, but for our sense of its relevance in the current cultural climate and our own personal tastes.
I would essentially destroy or obliterate myself in the attempt to match myself to a certain image. And it always involved a tremendous loss- those works are all really tragic because they illuminate what happens when you are willing to abandon everything else in favor of the image.
In general I’m interested in taking content that was meant to document something historical and re-cropping or framing it in a way that is more aesthetic and less documentary, to undercut some of that “authority.”
I wanted to narrow down my ideas and push my patterns and lines to a minimal state while focusing on more movement within a still life. I continue to build on these ideas and I feel that my work is constantly evolving because I am constantly exploring.