working on very specific projects from documentary features to multimedia theatre productions and photography exhibitions. Out of these collaborations, exchanges and encounters, with artists from very distinct traditions and cultural practices, I began to reflect on my own place in the world as a somewhat nomad travelling between spaces but ultimately belonging nowhere. I was inspired to question myself and challenge some of the very rigid borders I was surrounded by. Out of this process was born, ‘Project 21: Who Am I?’ which is a performance installation project filmed in 21 sacred sites around the world, exploring our innate dialogue between our own body and the landscape, various movement styles and the interconnectedness between ourselves and the environment. I’m interested in the relationship between body art, land art and sacred art. The project changes drastically from location to location, time plays a very significant part as it’s an ongoing long-term project which for me has no beginning and no definite end point. Whichever space I am in I try to respond in that given moment without pre-meditated ideas. I enter with an idea of the overall feeling, colour, sentiment or question and take
it from there. To be fully present is the hardest thing, and though I do not claim this in my work I try to bring all of the layers that I carry to mark the given space at that precise moment. I am interested in the imprint of my own body into natural landscapes combining it with organic materials such as leaves, branches, stone, fabric, rope etc. In a way reclaiming, reconnecting and re-triggering my roots and becoming one with nature. The genesis of the project evolved, changed and metamorphosed from the initial conception and this for me allowed room to manoeuvre, to enter and exit when needed and most importantly to create space. Improvisation and an intuitive approach was critical in this, particularly when engaging with evocative locations and environments to allow space for things to happen. Space for the unknown and room for viewers to enter. A Meditation on Stillness is a successful attempt to blur the geographic lines that continue to divide us but to rather focus on the binding creative and cultural forces that unify and help bring us together. Mexican artist Gabriel Orozco once stated, "the artist’s role differs depending on which part of the world you’re in. It
Women Cinemakers depends on the political system you’re living under": as an artist particularly interested in the theme of cultural identity, what could be in your opinion the role of artists in our contemporary age? Does your artistic research respond to a particular cultural moment? Art can transform lives, heal pain and act as a cohesive force within a society or community broken by conflict, dislocation or poverty. Art can act as an agency of empowerment, upliftment and hope in the darkest hour. I believe expression is an imprint of our inner world. It is a basic human right that belongs to us all, regardless of race, class, gender or personal circumstance. As an artists it is my mission to change the way people think, relate to one another and communicate. When we feel, we heal. When we teach others we reach out to a greater sense of collective humanity. Creativity is a process born of humility. It does not judge but gives birth to new ideas, new perspectives. It is a product of our imagination and a reflection of our deeper consciousness. Art serves as a reminder of our ancestral memory. For me the fundamental role of the artist is to bring enlightenment, awareness and understanding in one’s given society. I am influenced by the role of the artist as healer in traditional society and embodying aspects of this multi-faced role not only inspires me but also challenges me. Often in societies where art is more than entertainment, a business initiative and a mere commodity, artists are accountable to people and hold immense social and spiritual responsibility. My mentor, photo-journalist and cultural activist, Shahidul Alam, based in Dhaka, Bangladesh taught me the significance and power of an artist in contemporary society. Unfortunately he paid the price for his commitment as a conscientious artist in our times. He was recently imprisoned and held without trial for interview
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Women Cinemakers 100 days. For me, he embodies the true artist’s role as a critical voice, independent thinker and social commentator. In UK the form of censorship is quite different and the lines are not always visible. When the artist’s voice becomes divorced from the core values of its society there is danger in their voice becoming irrelevant and this could in turn hinder their purpose. So, I agree that as artists we carry a huge responsibility to reflect on who we are, where we come from and why we are here. The conscientious artist has a responsibility and is accountable to wider society for transformation and upliftment. Art, music and movement have formed an axis for my work, a mirror through which I am able to see the world. Society often forms the backdrop to our work as artists but we too can rise to the challenge, become a critical voice of truth that ultimately transcends the modern geographic borders. We have appreciated the way you have provided your short film with such a poetic quality, capable of establishing emotional involvement in the viewers: what were your aesthetic decisions when shooting and what did you aim at triggering in the spectatorship? I like to place my body and the camera in the environment and allow a sense of elongated delay and a lapse in time and space for things to unfold. There is no set way of working for me but rather a response that shifts with each concept and each new work. In ‘A Meditation on Stillness’ I was interested in creative editing, distinct camera angles, slow motion and the interplay between myself and the environment. The raw movement created a new geography that never was and each gesture navigated through a map of memory to neighbours of distant places. With most projects I see the end at the beginning and have a strong sense and feeling of the final work, but it’s just a case of getting there through the jounrey. Freedom for me, therefore lies in allowing the journey to dictate, in a way to enter interview
Women Cinemakers into a state of timelessness. Every piece of work is a rigorous act of ritual and this reveals to me the outcome, the duration, the aesthetics, the movement and the overall voice of the work. Ultimately I am always seeking to create a shared space in which I, the performer and spectator could connect bodily, psychically or spiritually through a shared sense of presence and energy. When the final video is on, we collectively enter a new timezone with new marcations of time, and spectatorship is intertwined with the video performance installation. I like to think of the spectator as an active performer who becomes inseparable from the work and who is willingly partaking in the physical and mental journey. With any work in it’s conceptual or creative stages I try to explore the fullness of the natural history of the body which is triggered by improvisation and seeking to create connections between societal binaries, breaking through oppositional forces, and being. As you have remarked in your artist's statement, you act as a conduit and the questions that emerge bring an awareness and particular understanding to both fellow practitioners, as well as people who are experiencing it for the first time. Art historian, Ernst Gombrich once underlined the importance of providing a space for the viewer to project onto, so that they can actively participate in the creation of the illusion: how important is for you the chance to trigger the viewer's imagination in order to address them to elaborate personal associations? In particular, how open would you like your works to be understood? It is very important for me that there is space for viewers to enter into the work and bring their own trajectory and interpretation to the experience. It is therefore critical that space is created for this plurality of voices to emerge and recede, to appear and to disappear, to come to the fore and to also interview
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Women Cinemakers withdraw. The Guyanese artist, Aubrey Williams once said, “Indifference is the biggest insult, someone who can walk past a piece of work and feel absolutely nothing”. To love is to feel, to hate is also to feel but to be indifferent is to feel nothing. Unfortunately with the constant overload of visual stimuli we are becoming numb to our immediate physical surroundings and this could have a knock on effect on how we relate to and connect with one another. Even though I have a very strong idea and vision of my pieces I understand the need to be open to the diverse potential readings of the work. I try not to set pieces with a forced opinion or outcome for viewers but rather to get them to ask questions of themselves and seek new possibilities in their own thinking. I see my work as an offering, a moment for viewers to travel and to journey, always with the choice that they can leave, come off the path but also with the choice to create their own. My work is open to new and multiple realities, but the viewer must enter first with an openness and move first with a willingness. With video and time-based work there is an advantage in that viewers give the work a chance, be it a few seconds or minutes and in that time they journey with me and take what they feel they need at that given moment. There is no rule. Just the rule of free-will I guess. To quote contemporary Indian dancer and choreographer Ananya Chatterjea's words, "creativity is a feminine modality". Over the recent years many artists, from Martha Wilson to Carolee Schneemann have explored culture’s expectations about what women are supposed to be: as an artist interested in questioning the themes of femininity and cultural identity, do you think that contemporary art could be a conduit for a kind of social criticism capable of making aware a large part of the population of the condition of women in our globalised, still patriarchal societies? Moreover, do you think that your being a woman provides your artistic research with some special value? interview
Women Cinemakers As a visual-anthro-mythologist I am a seeker of truth, a dweller in the unknown and my art expresses a universal spirit encompassing my sense of ancestral memory and ethnic identity. The essence, form and textures of the past shape my interpretations of the present and sense of the future. In building bridges spanning time, it enables us to transcend the local and realise our vision within a world communality. I agree with Ananya’s quote very much in terms of the artist and their inner process of creativity that takes on the form of imbuing the feminine within oneself. This equally applies to men as it does women. Firstly, I would like to differentiate between gender and the fundamental attributes of femininity and masculinity in its plurality. I feel the artist’s voice in it’s truest sense emerges when they choose to embrace their higher voice which often does not belong to any specific school of thought or social group. Our spirituality, in a way, is our femininity and this connects us to our eternal self, and through this we tap into our creativity. It is a genderless pursuit and is the same for women as it is for men. I am inspired by women in history who have fought against particular ideals and used them as a guiding force to transcend their place in society. Rani of Jhansi of India, Onna-bugeisha of Japan, Queen Himiko of Ancient China were all pioneers, rulers and warriors who existed long before our current parameters on feminism and social/political equality. Sometimes I feel we have to be careful with our cultural reference points in the current quest for feminism in the West. What has at once impressed us of Project 21 - A Meditation on Stillness is the way it brings the nature of relationship between the body and the surroundings to a new level of significance, unveiling the ubiquitous bond between the individual and outside reality: we have really appreciated your successful attempt to capture the resonance between
Women Cinemakers gestures and environment. How do you consider the relationship between the body and its surrounding playing with your artistic research? Placing the human body in motion at the centre of an aesthetic exploration is a means of understanding our deeper pulsating concerns. These hidden complexities contribute to our everyday life and are brought forward within the overall reading of the work. Bringing together a spontaneous/choreographic sensibility with cinematic production inform the articulations of the performing body with the use of movements and gestures outside the familiar. By creating this imaginative, often mythological experience which has no reference to any specific time or place, makes it therefore valid for all time and place. Above all, the ritualistic form treats the human being not as the source of the dramatic action, but as a somewhat depersonalised element of the dramatic whole. Embracing the spaces between lines reveals the true potential and power of the imagination unveiled through a continual journey of listening, seeking and sharing. Many artists express the ideas that they explore through representations of the body and by using their own bodies in their creative processes. German visual artist Gerhard Richter once underlined that "it is always only a matter of seeing: the physical act is unavoidable": as a multidisciplinary artist deeply involved in dance, how do you consider the relation between the abstract feature of the concepts you explore in your artistic research and the physical aspect of your practice? Flesh is communication and the use of the body in my work allows me to seamlessly go from subject of, or object within
thereby creating a literal embodiment of the artwork. I often say that art for me is the thread with which we sew together our collective memories. In all of my work I try to tell the story of our forever evolving identities. How we came from the root and branched out is always different….our connection is how we go back. This continuous process of questioning one’s self, one’s surroundings and all the societal layers placed around us helps one to forge a stronger sense of inner personal inquiry and resolve. The relationship between the abstract concept and the physical practice is one that requires a journey into the unknown. When a moment of inspiration is experienced, I don’t always react to it immediately, often I sit with it, read books, poetry, watch films, go to exhibitions, concerts, explore materiality, elements, sounds and sonics around it, journal, write, draw, scribble, brainstorm and collect visual motifs. Sleeping is also essential as it’s also the place where a lot of ideas come to the fore and inform the abstract concept in some way. From here on the journey begins and the idea begins to evolve from an abstracted concept to a more fitting concrete physical reality. This for me is the beginning and this process carries the pulse of our existence like an untapped language. I am a mere conduit and the physicalisation that emerges brings an awareness and particular understanding to the complex layers we carry through time. It's important to remark that you are the co-founder of several international arts initiatives including Chand Aftara, an artist’s collective dedicated to the exhibition and production of experimental cinema. It's no doubt that artistic collaborations are today ever growing forces in Contemporary Art and that the most exciting things happen when creative minds from different fields meet Women Cinemakers
and collaborate on a project: could you tell us something about the collaborative nature of your work? Can you explain how your work demonstrates communication between two or more artists? At Chand Aftara we are all about bringing together like minded artists to connect, create and collaborate. A creation centre where art is made and consumed in innovative and exhilarating ways. We regularly co-curate a series of performances, screenings and exhibitions, involving contemporary experimental film/video and other art forms in collaboration with artists. We have worked on various projects from mobile music tents in remote villages in Bangladesh, Sri Lanka and Gambia, to dance, theatre and performance installations in Europe and America. Communication is at the very core of Chand Aftara and we believe plurality creates possibility. We are a small team of contributing artists with an inter-disciplinary approach to our work. We like to push the boundaries of our practice and challenge our existing modes of working, placing ourselves out of our comfort zones with new projects is crucial for us and adds new dimensions to our evolving voice as cultural practitioners. I have worked on several musical theatre projects as a live multimedia artist where I conceive, create and communicate with a fellow artist, create entirely new video material and project this as a backdrop for two hour long performances. Projects such as this gives me huge scope and freedom to step out of my own conceptual world and enter into another. I find this extremely freeing as a visual artist and often thrive on creating in the moment. This way of working and the immediacy no doubt informs my own overall approach as an artist. Over the years your works have been showcased in several occasions and Meditation on Stillness was selected as the Women Cinemakers
Best Experimental Short at the Art Africa Film Festival and the Jury Grand Prize at the 21st Media City Film Festival. Before leaving this conversation we want to take this occasion to ask you to express your view on the future of women in contemporary art scene. For more than half a century women have been discouraged from producing something 'uncommon', however in the last decades there are signs that something is changing. How would you describe your personal experience as an unconventional artist? And what's your view on the future of women in this interdisciplinary field? France, after the war when they had nothing, no infrastructure or social/political order was referred to as a ‘she’. I find it interesting that nations in their moment of demise whether from war or natural disasters are referred to with this gender. In order for France to rebuild itself, create a new voice and identity as a nation had to call upon and rely on its artists, philosophers, thinkers and writers who had the ability to reimagine, and rebuild. When a nation is torn, broken, dislocated and fragmented this is when the role of the artist comes to use. For me, the power of the artist is similar to the power of a woman who embraces her femininity in its truest sense. Many women artists, writers, activists and leaders of the past fought for principles, followed ideals and manifested them. Their purpose was not driven by their gender but by the principles they stood for. If we associate an agenda to gender then we can never really free ourselves from cause and effect, we will always be a response to something, somewhere. By this I am not saying that we completely cut ourselves from what is around us, but we must carry a sense of objectivity and separation from our innate being and the societal constraints that are placed upon us. It’s not a question of the male gaze or even the female gaze in response to it. We have to understand the cosmology of our being and the complexity that lies within. The society we live in, the political doctrine that governs us are mere layers and added dimensions to our complex realities. We need to lose our grasp of binaries and enter into the sphere of plurality and multiplicity. For example, a woman who is naked is not a symbol of freedom, in the same way a woman fully clothed is not a symbol of suppression. There are many contributing factors and association to the actions we see around us. Intention plays a vital and key role in our reading of these complex layers. Femininity is not exclusive to women, just as masculinity is not exclusive to men, as the fundamental principles of femininity and masculinity are within us all. For me the future of women in the contemporary art scene has immense creative and cultural scope. There is so much that went before, we must know this, understand it and create from a place of knowledge. The bricks have been laid. What is our contribution? As soon as we know and recognise this, we can partake in the performance. Thanks a lot for your time and for sharing your thoughts, Sunara. Finally, would you like to tell us readers something about your future projects? How do you see your work evolving? I am currently working on a performance installation project inspired by Marc Chagall’s glass windows. The piece is about migration in the modern world and being lost in the oceans, Women Cinemakers
the impact of water as a fundamental element but also as a moving/dividing force between continents. It’s an exciting project for me as I am collaborating with several artists that I really admire and have not worked with before. I have just completed a feature documentary entitled, Memories of My Mentor, which is a seminal documentary on the life and work of Dunstan Perera, an extraordinary visual artist and filmmaker who has dedicated his career to expressing truth through the poetic image. The film chronicles eight decades of image making as Perera traverses the worlds of Asia, UK and America in his timely pursuit for ultimate artistic freedom. I also have several screenings of my work including ‘Truth & Art’ and ‘Living Legacies’ showing at the Kathmandu International Music Film Festival in Kathmandu, Nepal. Truth & Art is an intimate portrait on the life and work of three global artists from distinct musical, cultural and creative backgrounds. It features global renaissance man, Tunde Jegede, guitarist and folklorist Derek Johnson and flautist and singer, Diana Baroni. The series explores the distinct musical, creative and cultural worlds of Africa, the Caribbean, South America and the Diaspora and looks at the complexities of being steeped within plural identities and yet finding one’s essential voice and unique path. Living Legacies is the first traditional music archive in the Gambia and was set up to document the traditional music of the Gambia and West Africa through field recordings, archival footage, photographs and audio recordings and make these available as a cultural resource to a new generation. The film festival will be screening several films from the archive. An interview by Francis L. Quettier and Dora S. Tennant [email protected] Women Cinemakers
Hello Catherine and welcome to : before starting to elaborate about your artistic production, we would invite to our readers to visit in order to get a synoptic idea about your artistic production. We would like to introduce you to An interview by Francis L. Quettier and Dora S. Tennant [email protected] our readers with a couple of questions regarding your background. After your studies in Political Sciences in Rome, you moved to Germany, to nurture your education at the Düsseldorf Academy and later in the Nederlands, at Rijksakademie van Beeldende Kunsten, in Amsterdam: how do these experiences influence your evolution as an artist? Moreover, how does the relationship your cultural substratum due to your Italian roots and your current Catherine Biocca Women Cinemakers meets Lives and works in Berlin, Germany Gertie Reloaded shows an animated charachter, somewhat referring to a scientist or professor, explaining the German term "Schadenfreude", which means malicious joy, referring to a multiplicity of definitions, reaching from pop culture to hstorical explainations, from queer thoughts to kids vocabulary. It was embedded in a bigger video and audio installation shown at Le Foyer in Zurich, 2016.
Women Cinemakers life direct the trajectory of your artistic research? As I grew up with something like an European identity, I am not sure about the influence of national roots such as the Italian or German heritage. Rather I feel and see the direct influences of local (historical as well as environmental and social) roots. Growing up in Rome, with its multiple artistic substrats of classical, ancient, baroque etc. heritage and studying in Düsseldorf, which is a rather small city (translating the ending word “Dorf” literally means village, to give you an idea, while the “Düssel” is famous for being the shortest river in Germany..), but has a multitude of cultural venues as well as a vivid art scene while I studied there at the academy. After my BA in political science in Rome I looked for interesting options to explore the arts and came across the academy in Düsseldorf, as mentioned. I would say that the cultural, social and overall visual experiences in Rome and in Düsseldorf influenced me and my work the most. Generally it seems like legitimate that whatever we see around us and whatever physically surrounds us can have the biggest influence in building our aesthetic vocabulary. But surely the interpersonal and individual experiences make the most of our thinking vocabulary and that is how my work content and research practice was basically formed.
Women Cinemakers I guess everyone is influenced by their surroundings and these are mostly strictly local in a way of direct experience. Of course we can extend things to a national level considering language, internet, Tv etc, but that is something that never interested me that much, since I grew up in a linguistically speaking “shattered” home with my German mum and my Italian dad. The BA in political science is something that still accompany me today, since most of my work main focus comes from a mere sociological and historical path. For this special edition of we have selected , a captivating animation film that our readers have already started to get to know in the introductory pages of this article and that can ben viewed at . When walking our readers through the genesis of , would you tell us how did you develop the initial idea? The Work Gertie Reloaded is pretty much the animation of a criss cross wikipedia, internet, youtube, user platforms and various chat rooms definition-hunting of the German word “Schadenfreude”. Visually speaking there is a white middle aged guy, resembling a bit a nice professor or a traditional retired news anchorman, that explains in various forms the terminus
which is roughy the translation of “Schadenfreude”. Since it is a specifically German word, which doesn’t directly translate into an equivalent term in most other languages, it was interesting to look for ways that different categories of people would explain or translate it. Of course, based on the nature of the online platform, there were many different approaches to define and describe the German “Schadenfreude” and that triggered me to put them together creating a sort of compilation of approximative definitions, explanatory examples, translation attempts. Some of them are also quiet offensive and verbally agressive, which creates an intrinsic second connection to the meaning itself and generates an ulterior layer of tension between the work and the viewer. is centered on the German term "Schadenfreude", that means malicious joy, referring to a multiplicity of definitions, reaching from pop culture to historical explanations, from queer thoughts to kids vocabulary. We daresay that your film responds to German photographer Andreas Gursky when he stated that : in particular, you seem to urge your spectatorship to challenge their perceptual categories to create : how important is for you to trigger the viewers' perceptual categories in order to address them to elaborate ? The multilayered nature of my works is surely thought to enlarge the perspective for the viewers to be involved at least partially in what they see. To me planning and consciously structuring the moment of encounter between my project and the public has a central position in my studio practice, since this is the only opportunity for me trying to engage actively with this unknown future situation. The moment in which viewers meet the work is important, since it could determine to include or rather exclude peoples´ interest. That is why thinking and rethinking of all the worst case scenarios within this “moment of collision” is a central part while preparing a work. Definitely perception is the most interesting moment for the viewer looking at a movie, an installation, a commercial, etc. That is when you Women Cinemakers
Women Cinemakers as a viewer are triggered to reschedule your position and refocus on your statements as well. Also the recognition that your thoughts and believes can be temporarily shifted, adjusted or changed completely is refreshing to me, for someone behind the scenes as well as for someone on stage. I recently saw the piece “Suicide Sisters” of Susanne Kennedy here in Berlin and that is a great example of a multilayered all-round experience for your perception, starting from the textual mix of different works written in different times and spaces, as well as the visual overload of input elements, from video to animation and of course from the acting itself to choreography and moving images. I guess the more options the viewer has to jump into whatever is in front of them, the more flourishing the ultimate experience can be. Another interesting work of yours that we would like to introduce to our readers is entitled which is an interesting multimedia installations where the viewers are immersed in you video animations, distorted voices and a wide variety of objects belonging to ordinary life's imagery. German art critic and historian Michael Fried once stated that ' .' What were the properties
Women Cinemakers that you are searching for in the materials that you include in your works? Generally I am attracted by artificial objects that represent real objects and materials. In a way I am interested in stuff that emulates and pretends to be something else. Even if it is easily recognizable that those “wannabe” objects and materials are not what they claim to be, it is fascinating why those things come to life in first place and are produced by human beings, and which place they are supposed to take in our lives. I guess all of you are familiar with fake orchids or plants in restaurants and hotels for instance? Or what about the printed pvc covering and coating of buildings while they are being renovated showing blue sky and beautiful architecture? Or shop windows being decorated with fake marble pedestals, fake wood panels and golden foils etc. Why is it that cheap visuals are able to suggest something highly haptic and material like sones, rocks, water, clouds, plants etc? The reality shift that those materials and surfaces create within our perception is very interesting. Moreover its structure resembles the shift of reality and dimension provoked by the digital moving image of an animation on a screen. That is why I usually use both these aspect to trigger the sensation of being
Women Cinemakers immersed in some kind of different dimensional place, where 2D 3D and 4D are merged and eventually inverted to simulate a new form of reality that ultimately is as real as what we call reality, since it is hosted by a real space and composed by real objects and materials that we can touch and physically experience. We daresay that address the viewers to question the dichotomy between content and form, providing them with an immersive and multilayered visual experience. Moreover, we have particularly appreciated the way you seem to convey a surrealistic quality in objects from everyday life's experience: how would you describe the relationship between ordinary surroundings and your creative process? How does everyday life's experience fuel your creative process? As said earlier, the attitude of creating something that is supposed to resemble something else is very interesting to me, especially when this emulative process is clearly low fi and not really supposed to fool any viewer. It has a bit of a schizophrenic way of perceiving things, because we look at something, let´s say a vinyl floor which resembles parquet or
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Women Cinemakers marble tiles, and we know its materiality is not corresponding to its visual claims. But we like it anyways somehow. I am trying to figure out if this attraction is due to the intrinsic artificial character of the object or if it is rather the ideal image of what it is supposed to suggest that makes us go for it. And in this sense everyday life and everyday online life is a perfect source of input. Also this dichotomy within simulated materiality is similar to the dichotomy of miscommunication, where something is supposed to sound and be understood as X, but sounds and is perceived as Y. Miscommunication is a central part of my research and work and I see the parallels of the fake marble and a misinterpreted sentence: in my works the visual mechanism embraces the more content related mechanism and so they support and enhance each others´ problematic existence. Your approach deviates from traditional installation technique to provide the viewers with such a heightened visual experience, to subvert the clichéd techniques, developing that you included in your work: how importance do images play in your work?
Women Cinemakers The life of a symbol can be than the life of a regular object, so in this sense it adds some extra intensity to the viewers´ experience. In a situation where everything is kind of displaced, where objects shapes and lines are not in the order that we are used to, symbolism gets its special place on a rather natural way. That happens when we enter places that we are not used to see or experience in our everyday life, for example when we enter a church or when we enter someone else’s home for the first time. It is a sort of visual understanding mechanism, some kind of explicative interpretation of an environment, where all sorts of objects are empathized by our interpretation and our knowledge to understand at best the unknown surrounding. So who enters an airplane for the first time will be looking more carefully to images and objects, trying to give them a specific meaning. For people who are used to travel by plane, this is not a big deal anymore of course. But I would say that the first encounter with a specific place or situation triggers us naturally to get the most key reference points we can to help us to adjust in a similar environment in the future. Following this thoughts I am aware that objects and images used in my installations can have a rather symbolic or enigmatic function within the general set up. And choosing