Statement, February 2018
For the last nine years, I’ve been contemplating the explanations and expectations of “The Experimental Film World” (prior to that year it was “The Art World”), and I have to say that I remain a skeptic of the whole situation. I also remain unashamed of being a skeptic. In fact, I will continue on to say that I’m really skeptical of any group which insists that they have the authority to call the shots when it comes to defining what art is, and what art is best. But if taxonomy must be implemented to make sense of life, it’s not the job of the artist to assist the effort – at least, I don’t consider it mine. So I’ll say, my work is my own, it doesn’t fit neatly into any prefabricated box that is fashionable at the moment, or was fashionable more than 50 years ago, or anywhere between then and now. I won’t be contorting what I do and what I plan to do to please any judge, curator, or collector, or the public at large.
That being stated with spirit, some honest words about what I do, as I see and feel it:
My work is very personal. I don’t take on historical or contemporary topics, nor do I comment on them. If there are relationships perceived at times, they are oblique, and through the lens of my own experience as a woman in this world.
I’m very interested in ambiguity, but not to the extent that a viewer cannot comprehend anything about what they are seeing and hearing when they experience my work. The titles of my projects mean a lot. I enjoy finding different ways to tell a story, even if that “story” is more in poem form than prose form. You’ll notice that I am influenced by literary structures (e.g. chapters), particularly in my series work. I like to pull my material and inspiration from many sources, and put these elements together in unexpected ways. I’m open to incorporating different disciplines, such as dance, into my work. I love to find “wrong” ways to use software or equipment, and I’m not a purist when it comes to what goes with what. Trying any technique, no matter how unheard of, is one of the thrilling and freeing experiences of making my own work to please myself.
Lastly, I don’t use academic lingo when I explain my work, to the extent that I am willing to explain it. My hope is that whatever I make, everyone will be able to take something away from it for themselves, on some level. There is a lot of potential to explore between conventional narrative cinema and the avante-garde, and I hope to bring something worth experiencing to this area.
Biographical and Educational Details
I was born in Naples, Italy, but have spent most of my life in the U.S., particularly NYC, and most recently, my time has been accumulating in Los Angeles. Two members of my family are professional classical musicians (you’ll hear them play in some of my short films). The other is who I got my visual artistic gene from.
Year of birth:
Barnard College, Columbia University
B.A., Oriental Studies (East Asian concentration – China)
1989, magna cum laude
I never could warm up to the idea of going to art school, having been brought up with plenty around me, but some courses in addition to my work on my own have been: life drawing (Art Students League), painting and sculpture (Columbia University), basic jewelry making, repousse, etching, enameling, lost wax casting (92nd Street Y, Parsons School of Design, Art School of The Austin Museum of Art).
All of my digital video, photography, and collage skills have been self-taught.