When the house goes quiet and its me and my crystals.
Being in nature and listening to everything opens up everything.
My precious third born.
See website here
|The”Bind”series expresses my inner-self:a grown-up who has left the world introduced by her parents and other adults. Acquiring my own thinking and being,”Bind”shows a woman who has to deal with her female sexuality. In this work series, I bound myself with pigskin, which had been soaked in my blood as a symbol of womanhood. I was feeling and thinking about my life-in which I had transformed from a child who just believed what adults provided- leading it my very own way, as a woman, while wrapping my eyes, nose, mouth, and ears with pigskin. In this way, the”Bind”series are recordings of actions reflecting these considerations.|
My ANIKORA series is acting in front of social background, of a growing trend in Japan, known as “aikora”: it is about Japanese men’s desire to see their favorite pop or movie stars in pin-up or nude poses.The ANIKORA series ironizes such masculine desire. The figures featured in these works have almost nude bodies of an exaggerated perfection, like all anime characters. But by exchanging the original face of these virtual identities with my own, real face, I am showing a critical, human position about a (globally) increasing indifference towards some of our desires, leading to a situation of external control.
No one could give a quick answer to a fundamental question of an existence of human beings of “what I am”.
|The Masturbation series uses my face as the image subject.
The reason I used myself as a subject is, I felt that since the face is the most expressive part of my body, it could serve as the entrance to communication between myself and society.
My face, which is this entrance to repeating aspects of memory, pain, restoration brought to the present, is recording these moments in a photographic form, showing my vulnerability. Working my way to my inner self in this manner, is a condition which i, as an artist, accept. I even transformed myself, and literally eliminated some points that could be used to recognize me.
For me, “silicone” acts as a second skin. The texture of my skin was imprinted on the surface of the semi-transparent silicone, looking like the remains of layer upon layer of sloughed- off skin.
While all my faces represent a single self in a passage of time from past to present, a ‘me’ with two faces (= skins) is portrayed.
Covering the past with the present, the flow of time is locked in some secret room. In this way, the imprinting, erasing, locking up, and disclosing themselves become part of a kind act of masturbation.
Cyan, my light child, 2013
Armanda and I experimenting in 2009. She’s so cool, Armanda, she was so small then. She’s such fun to chill with, and she’s been so involved with my photographic portraits. And she’s so academic, so unlike her mama. My first born wonder.
Photo by my very (multi) talented friend Derek Davey.
“Go out in the woods, go out. If you don’t go out in the woods nothing will ever happen and your life will never begin.”
Clarissa Pinkola Estés,
I often transport myself out of places, through the window, out the door, through the ceiling. I am truly present only when there is love, or pain, the two flowers that blend together in a terribly beautiful perfume, enchanting enough to conquer all senses.
Some arb mirror photos. Haven’t done these ones in a while.
We are confronted (bombarded) by our own image so many times a day. On our web-profiles, in the mirror before work, in the shop window, our passport photo, selfie-sticks…and so on. And we can recreate ourselves through filters and personas. Maybe one of those utopias that Foucault writes about in his Utopian Body. We can escape the here version of ourselves by image. We don’t know what ‘self’ means anymore. So the term’selfie’ is diminutive for a reason.
Often, when I do a series, I discard many photos.
It’s too disturbing. Or ‘a bit too much’. Or not powerful enough, or whatever. I end up discarding many incredible images.
I found these ones, from my series ‘refuse’, based on many of Foucault’s text on power. In 2014 I went through a black bag phase, fascinated with the nature of the plastic, the way it stretches, they way it’s fragile and can tear easily but at the same time keep things contained.
Here are some images I decided not to put in the series. I like the way my flesh appears super red. The contrast between flesh and plastic.
Every time an image is captured there’s a gateway to the other side.
It’s damn trick, this thing they call image.
Possibilities and Probabilities at the click of a button.
Here’s a summary of my most important feminist works.
Some shots taken with my ancient blackberry out under the pine trees by theescombe.
We took our daughters to a birthday party there and I chose to speak to pine trees for two hours instead of the other moms.
My senses are so heightened right now, especially my hearing and smell…and Red Jaspers in my pocket pulls me nice and tight towards earth’s belly.
I’m putting together a small gallery of old self portraits HERE.
Me and Armanda.2014
View my photographic series “Hidden Apertures” here.
Show Your Wound 1974-75
Beuys originally created the environment Show Your Wound for a desolate underground passage in Munich. Its aura of melancholy and mourning arises from its subject matter: death, decay and a sense of trauma that Beuys referred to as the ‘wound’.
The ‘wound’ is a recurring theme in Beuys’s work and holds many associations, from individual illness and physical injury to collective grief. Beuys was wounded a number of times during the Second World War, and in the 1950s, he had a serious psychological breakdown. In 1975, the year Show Your Wound was completed, he suffered a heart-attack.
Beuys was one of the first German artists to reflect on his country’s recent political history in his work, and more specifically to focus on German responsibility for the Holocaust. The blackboards incorporated into this installation seem to be a call to action, a call for the German nation to ‘show your wound’. In this way, the work functions as an act of remembrance and a vehicle for mourning.
As in many of Beuys’s sculptural works, objects are presented as doubles. These include paired agricultural implements, twin blackboards and two mortuary dissection-tables, below which are double sets of containers filled with fat, as if bodily fluids had drained into them. Beuys often employed the concept of double identity to signal opposition and unresolved conflict.
my pms is over
from the ongoing photo journal
digital collage from my new self portrait series ‘maiden mother crone’
When I was in Cape Town recently, I had a short session with wonderful photographer and dear friend Niklas Zimmer. It is not my place, in front of the lens. I mean, of course it is my place, I’m in front of it all the time, but only when I am also behind the lens, directing myself. It was an uncomfortable exercise, ‘posing’ when it’s not me in control. It was wonderful though and it really gave a whole new dimension to what I am usually doing photographically. Love it. Big thanks to Niklas, who really is an inspiration. Check out Niklas’ work here: http://www.upland07.com/
Framer Framed is pleased to announce Embodied Spaces, an exhibition curated by Christine Eyene, featuring works by Delaine Le Bas (United Kingdom), Jeannette Ehlers (Trinidad/Denmark), Cecilia Ferreira (South Africa), Lisa Hilli (Papua New Guinea/Australia), Evan Ifekoya (Nigeria/United Kingdom), Hélène Jayet (Mali/France), Patricia Kaersenhout (Netherlands), Euridice Kala (Mozambique/South Africa), Shigeyuki Kihara (Samoa/New Zealand), Ope Lori (United Kingdom), Susan Walsh (United Kingdom) and Alberta Whittle (Barbados/South Africa).
In this exhibition, Eyene continues an on-going dialogue with women and queer artists addressing the body, sexuality, gender, Black and Romani cultural identities in their work.
Consisting predominantly of works of a personal or intimate nature, the project takes on a double approach, engaging with the idea that ‘the personal is political’ – as attributed to feminist artist Carol Hanisch in the late 1960s – and extending this assertion to the notion that the political belongs in the public sphere. The concept also draws from the notion of ‘non-places’ defined by French anthropologist Marc Augé in Non-Lieux: Introduction à une Anthropologie de la Surmodernité (1992) who reflected on public places that hold no significance other than infrastructural, places of passing, of transience. Temporarily experienced, these spaces are also the location of parallel forms of existence and creativity.
Embodied Spaces seeks to make analogies between ‘non-places’ and marginalised or underground cultural productions, echoing Framer Framed’s commitment to challenge a Eurocentric, normative, canonic vision of contemporary art and culture. The exhibition will engage with the context and structure of the Tolhuistuin. Art pieces will also be placed in non-art-dedicated spaces within the venue, creating links between their content and location.
Embodied Spaces follows from previous editorial and curatorial projects involving women artists from Africa and the diaspora, notably Women Speak Out (Galerie Le Manège, Dakar, 2011; Fondation Blachère residency in Douala and exhibition in Apt, 2014-2015), and WHERE WE’RE AT! Other Voices on Gender (Bozar, Brussels, 2014).
Alongside the exhibitions are planned a series of public events which will be announced soon.