I’m representing characters that exist under specific categories redefining the boundaries of nature, humanity, and hegemony- The Living Corpse, Monstrous Biology, The Id Manifested, and The Artificial Woman. Monsters live simultaneously within and outside of the natural, rational world. These figures, my alter-egos, are foregrounded in images of my own cells, taken from my body and photographed through a microscope. The works are double self-portraits, simultaneously fictional and nonfictional, abstract and representational- they are about otherness, transformation, feminism, and the gaze. They are self-portraits as the monstrous feminine in science fiction and horror film, a celebration of its disruptive, transformative and unsettling nature.
The dual function of helmets: to keeps things good things in, to keep bad things out. But nothing is truly impermeable; there are always cracks, letting bits of the good out and the bad in.
A series of self portraits wearing a helmet filled with or covered with different materials: tulle fabric, artificial flowers and confetti. Inspired by the experience of mania, which produces a sense of invulnerability, excitement, and heightened senses, an almost hallucinogenic experience. In question are the dichotomies of inside and outside, connection and dissociation.
Striptease in Space
In the cosmos I am alone and unselfconscious.
This series of mixed media works, which feature xeroxed self-portraits, ink wash, and glitter, were inspired by the opening scene of Barbarella.
Can a bodily existence be quantified if it is always changing?
Documentation of a performance piece which I consider a self portrait in a qualitative and quantitative way. Using a lab, I spent several months studying my microbial self, made extensive notes creating semi-transparent transfers of my notes using glue. I wrapped these around my body, combining scientific findings with the flesh that produced them: the information that was always there but previously unseeable. Scientific research is not the same as perception, but both are invaluable for understanding ourselves.
Considering layers of flesh, muscle, blood, skin. They are easily hurt but they can also heal.
Much of my work is directly connected to trauma and physiological processes.. The neck is a particularly vulnerable area of the body, chock full of arteries. The barriers keeping our blood inside of us are alarmingly thin; the body is vulnerable but can heal itself at times. In these images I am toying with the notion of boundaries by dressing my neck up and showing it bare, bloody, covered in gauze. There are also connections with the manufactured violence of horror film and the relationship between violent imagery and the feminine.
This could go on forever. Probably with increased fervor as time goes on.
Cosmetic rituals gives me a sense of control. It started years ago and will likely continue for a while. We can develop such reliance on material things, and our relationship with them can evolve. I took these photos, applying and removing my make-up over and over, condensing in minutes what happens over years, decades. A ritual that is so simple but so comforting.
Who does my figure exist for, anyways?
My first experiment in the darkroom, these works were created using ortho litho film. Reflecting on voyeurism, performance and sexuality. Using bright lights and strong shadows, the amount of visual accessibility in the images fluctuates.