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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.
I was asking myself this question some months ago, wondering if I bring memory in my artistic production. I was talking with a good friend of mine and she was asking me why I am so interested in sound, because I am an arrhythmic person. I answered that I love music too much and I am so amazed of every sound around me, even if it's traffic noise or breaking glass, I like hearing it and this lack of rhythm in the traffic or hundreds of people talking at the same time, listening to the sound produced by the noises, creates, in my opinion, a certain rhythm. I am using sound as an experiment and to understand myself and my surroundings. I remember how fascinated I was, since my childhood, by the graphic movement of the body while they are walking or dancing and I tried to relate this memories in my works, in an abstract way. So your question is related with this answer because I realized that I am trying to achieve a translation of my experiences. All my projects are experiments, trying to understand the relations between the artificial and natural, like in Seconds in Value, where I built the cube with the fans (which simulated the wind in an artificial way), the subwoofer playing together with the tools (the chalk and the charcoal). I love the activity of sound, how J. Cage said, the activity of sound and its result. In this case, the result was a graphic one, A project that was depending on the action of sound and its interaction with the material, creating its own visual compositions.
So not to get too far from the main questions, memory is a starting point of all my works. I subconsciously resort to memories, abstract and undefined ones, to help me reach my desired purposes.
What is the role of technique in your practice? In particular are there any constraints or rules that you follow when creating?
I don’t follow any constraints when I am doing a project, most of my artistic projects are experiments, trying to work with different techniques and focusing more on the process than on the final results. For example in Artificial Lungs, which is a project where I didn’t know the results, or what I should expect from it, I became the observer, listening to the performer of the wind playing on spheres. I experimented with the materials and sounds, exploring the process. I made my own translation of an environmental sound and how I can relate it with a specific place, viewing the space as an instrument and not just as a support for the work. The space plays one of the most important roles in my process, because the meaning of a project can change by choosing a different space.Why is the natural element the wind so important in my works? The sound of the wind can be so powerful that it can reduce the volume in a crowded, noisy place.
I have limited myself to this natural element and its interactions with the materials, making it the main performer and composer of my work.
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?
I am trying to make the viewers understand through their personal point of view of my work, without the help of a text, to challenge them to find their own meaning, through their interactions with the works. The concept is also important, but I am counting more on the emotional perception of my work, letting the viewer to explore and feel more. Most of my projects have an interactive character, where the audience interacts with my works therefore also becoming a performer.
The written part helps me in the process, putting on paper everything related with the work. For example the main concept, the research, the relation between artwork and space, the importance of the viewer, every detail, like a description. But I try to be more concise, the text is the root of the work, but I don't want it to be entirely dependable on it.
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?
When I am working on a project, I always have the audience in mind. I don't want them to remain just simple viewers, I want more, I want them to perform together with me or with my art objects. And not to get too far from the main question: yes, I consider it important to have a strong relationship as an artist with the audience, they should be very important not just at the end, but also during the process. I try to include the viewer’s perception in my work process, and this helps me to exceed my limits.
I don’t want them to have just an observer’s purpose, I aim to make the viewer part of my artistic process.
When I am working on a project, I always have the audience in mind. I don't want them to remain just simple viewers, I want more, I want them to perform together with me or with my art objects. And not to get too far from the main question: yes, I consider it important to have a strong relationship as an artist with the audience, they should be very important not just at the end, but also during the process. I try to include the viewer’s perception in my work process, and this helps me to exceed my limits.
I don’t want them to have just an observer’s purpose, I aim to make the viewer part of my artistic process.
tions. So, in order to do that, you have to be prepared in the artistic discipline and in the medium, that you have to learn, so that an artist or a painter or a designer can build through manual techniques , a painter or designer has different possibilities of interpretation.
Each technique must be studied in order to understand its meaning. Michelangelo, Picasso and Bacon are the painters that I love, they have focused their artistic expression in the study of the human figure , and especially every deep aspect of the Aristotelian view of the world, but my interest is, above all in the feelings that a human being receives from his senses.
It becomes for me the same meaning of the painting, and everything that I do on the paper or canvas, is represented by the sign, that expresses the final product of the artistic work. Meaning and significance are mixed in the representation of a very fragmented world, confused and disoriented. The computer screen or smartphone is a multiplier of images, and I sometimes wonder, if they need also my image. I answer yes, they need, because the representation, in this limited space in height and length, but not in depth, has to be investigated, in order to represent the vision we have of this fragmentation, this deafening silence of humanity overwhelmed by events and immersed in a seemingly unknown context.
For this representation, I choose different ways , I paint a natural or urban landscape, an abstract painting, or something it can remind a sort of surrealism, because using the painting as a medium, I can represent the different souls of nature around me.
Each technique expresses the representation. And the representation expresses the passage of time.
The relationship between my hand, the medium and the surface, a result obtained by means of the time, that I dedicate to the revelation of what is my summary on the colors and shapes, and through what I have seen and undertaken as, then I transfer it on canvas or sheet of paper. Time is the true protagonist, represented by the technique of the whole represented image.
My paintings and my drawings to be appreciated in all their fullness, should be observed very closely, in the same way that I conceived them. You have to put the viewer in front of the work and let him to explore it, like you are in a place and if you want to see everything that is around, you have to move your eyes in every direction.
I suggest this way to view and appreciate every work, but especially mine, whatever the way and the mean used.
What in your opinion defines a work of art? And moreover, what could be the features that mark the contemporariness of an artwork?
II must admit I find this question incredibly hard! What defines a work of art??? I keep coming back to “originality” and “passion”. I think if someone has created something from scratch with his own hands, with passion, with heart and soul, whatever and wherever that spiritedness and desire stems from, no matter how beautiful or how ugly, you could call it art.
As for the contemporariness of an artwork, I don’t necessary believe there is a specific feature which defines the work modern. All art at one point in time was “contemporary” in comparison to what came before it.
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.