While the perspective of my works can function at the level of myth, fairy tales or secular science, they seem at times, to convey purely private codes and to spring from a self sense of making, yet they express public issues and operate on several levels of accessibility and openness. My works recurrently begin from intimate and personal emotions to become public and universal.
Strong and mighty not only through the subject matter but also, just as often, through my choice of materials - Human hair, personal belongings, seeds, soft fabrics, among others.

I turned my artistic focus on the human body and its primal substance. I’ve chosen particular human body materials with highly charged cultural and political taboos. While I understand that any kind of artistic medium has no unique identity today, by elevating the human body material, it has been my intent to transcend it to an extreme global level.

By using these materials as a medium of artistic expression, I am concern about memory, death, birth and renewal; Recollections and memories; Actions and every day objects that outline and represent me.

Hair carries a strong symbolic load stretching back in time to the cult of the saintly relic to the tradition of presenting a lover with a locket of pubic hair. The association of it with: sex, sensuality and adultery, to wisdom, valiant and heroic meanings, are often part of my work too.
Sometimes used also, as an argument towards society and the guidelines to beauty, a struggle against the “expected” roles and forms.

“...From Samson to Freud has known. Power is inherent in those slender outgrowths of the epidermis, those pigmented filaments that are among the most animalistic and intimate elements of the human body. Not all hair is pubic, but as psychoanalysts well know, the most innocuous remark about beard, mustache, or hairstyle is a loaded and coded comment from which can be deciphered all manner of information about libido, superego, and sexuality. Hair can be a signifier not only of virility and femininity but of race, ethnicity and age; and as history can attest - from the pigtail of china’s final dynasty to the powdered wig in monarchist France, from the military crew cut to the rebellious hippie mane or the militant afro, from the punk Mohawk to skinhead hairlessness - how we style our scalps has since time immemorial singled allegiances and complicities in the political and spiritual realms.”1

Immerse in the passive labor which generally begins with the collection of mine or others fallen, cut or lost hairs / objects / belongings, I manage, through patient sewing, knitting, waving, romped childish drawings, exuberant sculptures, installations and performances to put together the different meanings I grant to my materials-concepts.

 

 

 

 

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1. Kim Levin, splitting hairs: primal projects and material misunderstandings, Enrico Gariboldi arte contemporanea, Milan, Italy, 1994.