For me non-space provides a context to examine the 'outside' as opposed to the 'inside'. I agree with Osborne's concept that global modernity is not necessarily just Geo- politically about the hegemony of the West, but also about the hegemony of capital because parts of our cities are becoming gentrified, resulting in homelessness and displacement, invoking a temporariness. I believe it also opens up a conversation in social theory in which 'space' and 'spacial relations' can be discussed outside of the one sided view of space being located just within the context of time and history and moves towards a collective experience of the modern . In his book, 'Phenomenology of Space', Christian Norberg describes places as being made up of visible qualities and criticizes 'inside and outside' by their natural and physical barriers, in which space is noted by it's buildings, characteristics and the specific role in the physical location in which the space has evolved..
Before leaving this conversation we would like to pose a question about the nature of the relationship of your art with your audience. Do you consider the issue of audience reception as being a crucial component of your decision-making process, in terms of what type of language is used in a particular context?
I have thought about how my work is perceived but it doesn't influence themes or language in my decision making. I personally find my research really interesting, and create and paint for myself as opposed to an audience. If you don't enjoy and like your work then why make it? For me there has to be truth and honesty in production because your expressing yourself and not other people.
Thanks a lot for your time and for sharing your thoughts, Teresa. Finally, would you like to tell us readers something about your future projects? How do you see your work evolving?
At the moment I'm working towards my masters degree show in September which will be displayed here in Galway. My work is evolving as a result of my thesis. I'm also currently experimenting and exploring ways of creating more of a dialogue from my research translating to my paintings.
his ideas regarding the unconscious self. There is something attractive or beguiling about the notion of a prehistoric memory of which we could sink back into, a meltdown of the modern psyche. Perhaps it would be a relief? Peggy Phelan is a more academic influence, then Willie Doherty is probably the most relatable artistic influence I would have when thinking of a mood or aesthetic for my work. Inspiration can often come from unexpected sources and so I don’t get too caught up in working with a set voice or artistic reference in mind. It’s better to remain open to whatever comes my way, influentially.
Your artworks can be viewed as an imagination journey diary; “Narrative works are non-linear and represent a lack of focus, an inability to move past an event or trauma. The repetition of specific words or phrases allows a viewer to become equally enmeshed within one thought, it is difficult to remain aloof from the words. The exploration of negative emotion results in a positive output of work. The psychological transformation of emotion into ‘creative work’ is a positive experience, an expression of acceptance and confidence.” We would like to ask is it you that creates the process, does it have a particular aim? What is the difference between the psychical and physical for you, the imagined and real? Are there any particular kind of stimuli you find especially fascinating on the way?
I don’t consider the work to have to be life changing, or life affirming for anyone else, it more exists as a personal expression which I have pushed out into the ether. I feel a negative experience and emotional state can be dwelt upon for too long yet remain unresolved. By thinking about such experiences and creating work from them, they lose their power for me. So it’s quite a personal process of sorts. It is a mix of work vaguely inspired by lived experience while also being an experiment in language and visuals, so there is also that element which is less painful and more playful, thoughtful. The differences between the imagined and the real don’t have to be solidly black and white when it comes to making the work. Our emotions are often illogical or clouded and I guess my video works reflect this tension.
Is there any particular way you would describe your identity as an artist but also as a human being in dynamically changing, unstable times? In particular, does your cultural substratum/identity form your aesthetics?
Definitely being female in this day and age influences my aesthetics. I guess you could say I am a feminist artist, not the bra burning, sign wielding type, but I certainly believe in equality for women, particularly in art. I empathise with women involved in the art world of history past and am awed by their courage and how far female artists have fought to shine through… but it still isn’t over yet. Through my art I believe I am conveying a woman's sense of self. Her individualism, her beauty, sensuality and mystery, her sexuality, strength and heart.
Your art seems to be a quest for “balance between abstract and realism, manipulating lines and colours to create a kaleidoscopic feel while remain a meticulous sense of order using acrylic and mixed media.” What is the role of technique in your practice? In particular are there any constraints or rules that you follow when creating?
The very beginnings of inspiration for a new painting is to look for a pose. I will often troll through images of Avant Garde fashion photography, ballet, dance, naked portraiture and/or body-scapes to find just the right one. Once I have the pose that strikes me (YES!) I take it from there, drawing up a rough sketch adding patterns and geometrical shapes which contrast the lines of the main silhouette.
From there I sketch my plan on to a blank canvas (always making changes and additions to the new layout). Once I am happy with that I start to add colour. My fine lines are all executed without masking; using a small brush, even hand, and steadfast concentration. Then I apply layer upon layer of colour until I achieve beautiful unyielding saturation and impeccable print-like quality.
How do you see the relationship between emotional and intellectual perception of your work? In particular, how much do you consider the immersive nature of the viewing experience?
The emotional and intellectual relationship of my work always begin as two very seperate things. At first glance, my art may seem frivolously aesthetic .The colours are vibrant, and deliciously arresting. But then you look a little closer, even through the simplicity of the block colour and basic lines of geometry and pattern, there is always a story within… and that is when the emotional and intellectual perception of my art merge and the true beauty is discovered.
olted by the Thought of Known Places… Sweeney Astray” by Joan Jonas was one of the first performance installations that really made a huge impact on me. I was living in Paris during this time, in the early 90s, with a lot of influences from different cultures. It became the starting point of my own work. Joan Jonas practice has explored ways of seeing, the rhythms of ritual, and the authority of objects and gestures. Jonas continues to find new layers of meanings in themes and questions of gender and identity that have fueled her art for over thirty years. She is a great inspiration still today.
It is impossible to avoid the topic of body consciousness, embodied emotions and the image of body and personal identity that we see in your practice. What is the function of the identity appearing in your artworks – is it a canvas used to present your ideas or rather the subject of the art? What inspired you to use this as a theme in your practice?
I have been developing my visual imagery since I began studying art and film - from conceptual thinking, composition, using light and colour in different ways, through all the different techniques I've utilised over the years in my work and in my collaborations with stage artists such as dancers, musicians and actors. My approach is always developing through exploring these things. Visual imagery in essence is your way of experiencing what you see and transforming it. This is my world that I want to share and express through my art. The body consciousness, embodied emotions and the image of body and personal identity is part of this visual imagery, the emotional essence in my practice. Always present and always developing in different themes and projects.
Marina Abramovic stated: You see, what is my purpose of performance artist is to stage certain difficulties and stage the fear the primordial fear of pain, of dying, all of
which we have in our lives, and then stage them in front of audience and go through them and tell the audience, 'I'm your mirror; if I can do this in my life, you can do it in yours.'Can you relate anyhow to these words?
de-identify myself, by losing my roots, my culture, I would be very happy. Unfortunately the human being does'nt choose the place where he is born. He grows up in a society that automatically identifies, through education, culture, family... More than ever I think it's more important to go on a way of self-knowledge with the aim to meet “the other”.. This other without which we can not exist. It's the same for the artist. It is more important for me to be focused on my practice than to try to define it according to esthetic criteria of identification. It's probably the reason i like to remember the painter Matisse who said or wrote that an artist must never be prisoner of himself, prisoner of a style, prisoner of a reputation.
Would you like to tell us something about your background? Could you talk a little about experiences that has influence the way you currently relate yourself to your artworks?
All my way is influenced by encounterings.
It began by the meeting with my professor of literature at school. More than giving French or Literature classes, she brought us to discover texts, movies, plays, visual artworks and to think about on what we saw or read.. Thanks to her that I met Pierre Vincke, a theatredirector who was worjink in the tradition of Grotowski ... Both of them have led me to go to theater school. In this school I had meetings. Meetings with artists but also and especially human beings that made me discover. I always need o discover rather than to master a practice. It's probably the reason my encounter with Monica Klingler and Boris Nieslony was decisive for me and led me on the path of Performance Art which is a form still difficult to define. Each performance artist has a different definition of what it is...
Could you identify a specific artwork that has influenced your artistic practice or has impacted the way you think about race and ethnic identity in visual culture?
No I don't have a specific artwork that has influenced my artistic practise but many.
I'm influenced by some philsophers as well as poets or musicians or dancers or visual artists but also by some places or landscapes or atmospheres ... For some years, I was used for example to go to India where I was used to follow some traditionnal muscians or to learn bharatanatyam and practice vipassana meditation... Of course this experience has impacted my art work.... This brought me to think and work differently... My experience in India brought me to discover traditionnal strong art and paradoxally to the way of Performance Art. But there I see one common point: to make no separation between art and life and to be here and now, without projection on the future.
It's difficult for me to speak about race and ethnic identity. But I can say that today we miss more and more this notion of “to be here and now” which is more present in some cultures ... By practising Performance Art, it's my way to be connected to this way of thinking. And even in this field actually it's more and more difficult. The society and the art world brings us more and more to plan in advance, to define our work, more than to do. Just to do. To do what we deeply need.
And of course, my encountering with Black Market International and later the notion of Open Source or Open session via PAErsche have also a big impact on my work. When we go on that, each of us perform by sharing time and space but without trying to convince each other on some common way. This is for me a wonderfull way how we can meet each other, regardless of our origin, our race or our “identity”...
Many of your works carry an autobiographical message. Since you transform your experiences into your artwork, we are curious, what is the role of memory in your artistic productions? We are particularly interested if you try to achieve a faithful translation of your previous experiences or if you rather use memory as starting point to create.
My memory is clearly a starting point to create. I don't have any autobiographical message. I use my personnal experience ( what I feel , what I see, what I learn, what I ear...) to work. It's a motor or a material. I'm not able to paint, so I can't do something with red or white or yellow or black colors. All I have is life, a body alive. And I need to do something with that...
My sensation about life sometimes is too intense then I need to transform this intensity in some action. Some artistic action... If people can take something from this action this is great... but I don't want to give them “a specific message” or to control the translation of my experience.