I am a conceptual artist. My work typically features traces of gesture and obsessive repetition. Although walls smeared with margarine or an installation of 18,928 handmade clay cookies may look unrelated, each project is a continuation of the last and informs future experimentation.
As I conduct research and draw from my life experiences, navigating the world as a survivor with invisible disabilities, my art-making practice continues to evolve as one rooted in feminist discourse and interrogation of object permanence. Each of my projects represents a dynamic dialogue where exhaustive research converges with raw and intuitive expression. I aspire to unveil the intricate consequences of capitalist consumption, dissect the multifaceted layers of media's representation of women, and confront the transient nature of life and the corporeal form.
Recent video pieces like "Candle and Heartbeat." reflect on time, temporality, and its relationship to our bodies and mortality. Here, I pair meditative Hi-8 camcorder footage of a burning candle in St. Stephen's cathedral in Vienna with a DIY stethoscope microphone recording made of my heartbeat. Then, in the eighteen-hour single-channel video installation work, "The Haircut," I center the gesture of the haircut to consider its repetition within the traumatic realism of popular culture. Psychological trauma, its representation in visual culture and language, and the role of memory in shaping individual and cultural identities are the central concerns that define traumatic realism. Throughout the video, with close to 600 scenes taken from films from 1911 to today, the recurrence of the haircut shows that, when enacted on a woman's body and psyche, it can range from a form of healing to an act and location of trauma.
Photo by Shawn Rowe