My work is about the crossing of consumer culture with the deeper human instincts of value, care, intimacy, and play. Utilizing the framework of assemblage, I look for traces of objects within the shapes of body parts and discarded product packaging. My mold-blown glass sculptures are created from plaster casts of the body and vacuum-formed plastic toy and product packaging. The pieces reference the doubling of time and identity, drawing on my experience as mother and daughter.
I’ve been a working artist, curator, community activist and teacher for more than 25 years, creating and producing intimate solo performances, large-scale public happenings, socially engaged interventions and performance art workshops and lectures. My practice extends across black boxes and white cubes, art fairs and subway stations, international festivals, and single bathroom stalls. I’ve operated an artist-run newsstand in a vacant subway station kiosk, a soup kitchen for artists, a breast milk tasting bar, and a performance festival hub for kids. I’m forever inspired by the rebel queers, renegade witches, and other dyke moms I run with, and bound to many brilliant artists, activists, spell-casters and healers. For many years I made performances that drew from my own experiences of trauma and transformation, intimacy and motherhood. More recently, I’ve experienced a shift in my practice, where my attention has turned to wider theoretical questions about the nature of performance itself to ask questions about when, where, how we perform - in theatres and galleries, on social media, and in our everyday lives.
I am fascinated by transformation processes.
I observe transforming spaces, economy, environment, cities, work, cells, bodies, knowledge, history, countries, roles, education, technology, relationships, selves, languages.
Becoming and being a mother is for me all about transformation. My first solo exhibition in the Zepter Gallery in Belgrade, Serbia was called Metamorphosis . The objects I made used banal everyday objects (plastic bags) and transformed them into an immense vagina or into umbilical cords falling from the ceiling. This story from 1999 was a intimate story of separating oneself from the primary family and a story about the everyday and the environment.
From 2006 to 2012 my partner and I went through a series of unsuccessful IVFs and several miscarriages. I did several sculptural works that documented this part of our lives - like the Womb exhibited in 2010 in Museum de Ceramica de l’Alcora, Spain. It was just about the pain, I guess.
In 2012, I was invited to make an urban intervention inside the Vesel Garden in Ljubljana, Slovenia. I was three months pregnant with my son and did not know what to expect about the occurring pregnancy. So I did an urban intervention with a participative performance and called this work Embryo garden. It was all about the thin line between life and death of the child to be, but also of the artistic child within myself.
My experience as a parent has been both challenging and inspiring for me as an artist. I explored the relationship between the roles of artist and parent in my 2016 exhibition in the Glass Atrium of the City Hall of Ljubljana, called A Thank You Note To the Cleaning Lady. The work that lent its name to the exhibition questions the relation between reproductive, maintenance work and having greater purpose in life. As a whole, the exhibition was born as a product of broken antagonism between being a parent and an artist and of cooperation between the two roles. The installation To Include Everything, Everything, Everything, Absolutely, Absolutely, Everything especially focused on that. And the work The Map is about the child experiencing and learning by himself, and the artist-mother just observing and taking notes. In this process, I sometimes feel as if steeling from him.