During the process of creating my latest series of paintings, I cooked. I depicted the food compositions, not on a plate, but in my body in different stages of digestion, in the dark. Prior to this, my paintings dealt with the human internal organs, the colorful orgy of decay as a body transitions from living to dead.
At the age of 16, I attended a forensic autopsy and first saw an incision. The experience was really so gut-wrenching, that I felt as if I had been wounded on my stomach. Then a hidden inner garden, rich in colors was revealed, which I discovered there with feverish enthusiasm and curiosity. This and my childhood experiences in hospitals led to my short-term medical studies.
My flesh painting series closed with the genitalia, which dealt with the subject of vulnerability and sexual exposure of the female body-being.
I felt I needed to further explore these states of crisis and their mystical quality, evoking them in other forms. I organize feasts and other community events around female experience. I invite people to play with the topic. I then offer the art product that results for consumption and digestion.
My magical brewing work is based on the history of 16th century English alewives. They were masters at their craft who lived with a higher degree of freedom than was acceptable for women at the time. Yet, they were driven out of business accused of potion-making and witchcraft. During the work process, I subverted this historical injustice, and turned this maligned practice back into a strength. I understood the power in brewing a potion, how it opens a gate to science and magic at the same time.
My latest work confronts the relationship between science and magic, along the theme of medical cannibalism connected to medieval herbalist and healing women.