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.
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've never considered myself a singer to be honest, but lately I'm coming to terms with the fact that I am a singer and not just a music producer.
I like to think of it as an ode to the power of standing up united. A study of how 'divide and conquer' works on a small scale and how it could be defeated in an ideal world.
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.
There are such extremes of living here and there are always new resources popping up and mediums and venues that keep you working. There is such an immediacy to this city.