My work expresses the body’s relation to the semiotics of our contemporary culture. A relation which includes a subjectification of objects and, in reverse, an objectification of subjects. I regard my praxis as a feminist investigation. An investigation into how our identity is shaped and (mis)understood through the language of our manufactured products.
I mix readymade and made objects, signs or clichés. I see it, I grab it, I use it. The material moulds to my actions. Traces of my touch on the surface make the process of creation cling to it, leaving a highly personal expression directly in contrast to the industrial traces. The works are sculptural combinatorics of sign, signifier, action and body. The combinations create a visual narration that I describe as emotional formalism.
I use everyday synthetic and industrial materials: UV, porn, Nike, concrete, etc., and mix them with classical high art materials: ceramics, bronze, and marble. Around me, I see ads, porn, architecture and design, made by us and for us. I see them function as behavioural models to which we repel, mould, match, mimic or mirror ourselves. This act I regard as a domestication of our bodies.
The content of my work is about the body’s emotional reaction and instable transformation towards such domestication of our culture. I ask the question wether a true, inner emotional origin is available but has lost itself in an endless reading of semiotic machinery. My work carries meaning by showing, in a humorous way, how the emotional body transforms and mutates itself in accordance to industrial images.