Women Cinemakers defined by middle-class women’s needs. However, that conflict can give rise to a lot of comic potential. I think it’s also possible to be a feminist and to affectionately make fun of its absurdness at the same time. There is a British comedian I really like called Simon Munnery. He has a character called Alan Parker - Urban Warrior who is a stereotypical anarchist activist, who spouts nonsensical ideas such as ‘When you receive your pay packet - receive it with pride - then hand it back - let them know that you don’t need their money’. Simon Munnery is obviously a liberal, and gently ridiculing this character. I wanted to create a similar character for the delusional feminist academic, Ellen Thornton. We like the way Code red triggers the spectatorship cultural substratum in order to address them to elaborate personal interpretations: how open would you like your works to be understood? And what do you hope your spectatorship will take away from your work? All schemes and programs designed to make the world more equal - getting women into programming, working class kids into top Universities or refugees into the job market will contain a degree of conflicts and assumptions to be challenged. These difficulties can be funny and that’s ok and it’s still something worth doing. We daresay that Code red could be considered an effective allegory of human experience: how does everyday life's experience fuel your creative process and address your artistic research? My standpoint is that life is basically ridiculous and absurd and hopeless, but if you find some humour or magic in it then you can make it joyful. It was just so fun and enjoyable to make - there’s something so exciting about realising what you are trying to say through making something and if other people enjoy it too that’s wonderful. We have appreciated the originality of your work and we have found particularly encouraging the results of your artistic research. For more than half a century
Women Cinemakers women have been discouraged from producing something 'uncommon', however in the last decades there are signs that something is changing: what's your view on the future of women in such an interdisciplinary field as filmmaking ? The most interesting and exciting stories are the ones which haven’t been told yet. Since there are so few female filmmakers and show runners, it can only mean that there are unearthed femaleperspectives waiting to be told. There are so many female comedians now, compared to 10 years ago. I feel like there has been a sudden explosion. Maybe something similar will happen with filmmaking. Sometimes I think the biggest barrier is deciding that your project deserves to be made. Once you have agreed it’s something you want to do, you are halfway there. The financing required for professional filmmaking has always made it less accessible to women - in the same way that female-led startups have a hard time raising investment. That’s not going to change soon, but now that we have YouTube, there are ways to make things and self-distribute them to get an audience. Thanks a lot for your time and for sharing your thoughts, Jessica. Finally, would you like to tell us readers something about your future projects? How do you see your work evolving? I’d like to make more episodes of Code red and release it as a web series with some higher production values, in a similar way to how Broad City got started. I have another web series, featuring the Ellen Thornton character, Ellen Thornton’s Feminist sci-fi video blog. A self-styled video blogger and amateur literary critic, in each episode she reviews a piece of feminist science fiction. Available here:
Hello Hilde and welcome to WomenCinemakers: we would like to introduce you to our readers with a couple of questions regarding your background. You have a solid formal training and after having An interview by Francis L. Quettier and Dora S. Tennant [email protected] earned your BA (Hons) Fine Art you nurtured your education with a MFA of Fine Art Media, that you received from the prestigious Slade School of Fine Art, in London. How did these experiences address your artistic research? Moreover, does your cultural background inform the way you relate yourself to art making in general? Hilde Krohn Huse Women Cinemakers meets Lives and works in Surrey, UK My work focuses on politicizing personal experiences and the integrity of information messages presented to us in the media. I allow the work to dictate the medium utilised, working in performance, film, sculpture and painting. My work contains elements of humour, the mundane, and banal horror, hitting affectious points with the audience I work within the field of narratives; editing, manipulating, twisting and skewing information and narrative content to control the viewers perceptions while also making them aware of the process. I also creates filmed performances which play with the honesty of performance and the deceptive qualities of modern film, creating a conflict with the integrity of the performance. My content also consists of found material which then comes together in films or collages or text to create an entirely new narrative.
Women Cinemakers I’m sure like most people’s education, mine was the basis for my career. It introduced me to the people whose ideas influenced me, students and tutors alike. During my Bachelor’s at UCA, Farnham, I was able to deconstruct all preconceived notions, in a safe and supportive environment. Farnham is a small town with not many outside distractions so it was a good place to focus and develop. While at UCA we had a guest lecture by Martin Creed, the 2001 Turner Prize winner, who I ended up interning with for over a year. This was a great insight in how a successful artist works and I wanted a part of that. The Slade introduced me to the ambition and drive that I would need to carry on in the arts. It introduced me to a peer group of incredible inspiration and knowledge. Through the Slade I was awarded a commission for the Museum of London, a massive digital installation for their Sackler Hall. They also had a great series of weekly guest lectures, mostly former Slade students. All this made it feel like that dream of being an artist wasn’t too far away and it was achievable and not a romantic fantasy that I would day dream about while doing another job. I’m Norwegian but I’ve been living in the UK since ’96. People tell me living here that long makes me British, while in the same breath calling me a foreigner. I have an American accent on top it off, so generally I tend to confuse people’s idea of origin and national identify. This slight outside perspective of cultures is enjoyable but frustrating in the same vain. I can’t vote in the UK, making me feel voiceless and at the mercy of others. But speaking interview
A still from Women Cinemakers
A still from Women Cinemakers
Women Cinemakers with friends with the same background, a slightly rootless, transnational bunch, it’s not unique and becoming more prevalent as the world changes into a more global community. You are an eclectic artist and your versatile practice ranges from performance and film to sculpture and painting, revealing the ability of crossing from a media to another: before starting to elaborate about your artistic production, we would invite to our readers to visit https://www.hildekrohnhuse.co.uk in order to get a synoptic idea about your artistic production: would you tell us what does address you to such captivating multidisciplinary approach? How do you select a medium in order to explore a particular theme? I never think of the medium first. It’s always the idea, the story, the message first. Then I look at what the best way to get that idea across. And different mediums and their histories lend themselves differently to different ideas. The idea wont work well if you cant communicate it and the communication, the delivery of your idea becomes its physical manifestation making the two inseparable. For this special edition of WomenCinemakers we have selected Comment Down Below, an extremely interesting experimental video that our readers have already started to get to know in the introductory pages of this article. What has at once captured our attention of your insightful inquiry into the relationship between the online technopshere and the interview
constructed nature of women's identity is the way it addresses the viewers to such unconventional and multilayered experience. While walking our readers through the genesis of Comment Down Below, would you tell us how do you usually select the themes that you explore in your artworks? All my work is personal and stems from me and my experiences. I don’t know how to make work any other way, without it feeling disingenuous or contrived. I don’t pick a theme or topic, I pick an experience, or something I’m going through, trying to understand it more fully. This constant self-reflection and analysis can seem limiting, and egotistical, but it also opens you up to a lot of pain and vulnerably. But as humans, we aren’t as special as we like to think which means that my experiences are also not unique and are shared by others. Comment Down Below was an intersection of two parts of my life. Like a lot of people I trawled the internet night after night. I loved seeing people, sharing their own lives. I spent years on Youtube. I wrote a dissertation on the participatory nature Youtube, along with other essays focusing on Youtube, performance, theater, projection of identity. I just couldn’t stop sneaking peeks into other peoples’ lives. This is how I came across the videos of young girls asking the massive anonymous audience of the internet on their opinions of their looks. Watching these girls, I Women Cinemakers interview
Women Cinemakers
Women Cinemakers
remembered that time in school, trying to figure out where I should place myself, how to categorize myself according to other people’s views. It hurt to watch them, because we weren’t special, we were the same, I was watching what could’ve been me and what was me. A couple of years later my film ‘Hanging in the Woods’ went viral after getting into the Bloomberg New Contemporaries. Surprisingly the female nude in art can still illicit some angry responses from the general public. I got hundreds of rape threats and death threats into my inbox, along with men propositioning me for sex or fetish acts. I hadn’t asked but since the video was being widely viewed I was getting everyone’s unwarranted opinions on me. I’d seen this treatment before, with gamergate and celebrity culture, this unfair harassment of females, the objectification, the scrutiny. It hurt, how all of a sudden I had become two dimensional being, dissected and consumed by others, regardless of my own volition and voice. Up until that point I’d always thought of myself as a head on a stick, my body being a vehicle. But now my body, my female body, had become my only identity. I was scared, I’d never felt so powerless of the image I projected, in how people perceived me because of things I had no control over, my sex and physical being. And I was pissed off that I was taught as a child that this was one of the more important things in life, how people perceived me, that I should care and take it seriously and change accordingly. I definitely thought about all the people who had sent in their messages and mails, saying how much they hated Women Cinemakers
me and my work. I would give them the same treatment, now they would have no choice either, and would become my work too. So I combined the videos I found of those young girls asking for comments on their appearance, with the public comments I received on different online platforms. The videos and the comments where part of the same thought, or line of thinking, that women should align with society’s views of them, from two ends spectrum, from the naive internalization at a young age, to an out pouring of rage from the public when a infringement is perceived. We have deeply appreciated the way Comment Down Below criticizes the women's identity in our globalized still patriarchal and male-oriented age. Not to mention that these days almost everything, from Maurizio Cattelan's 'The Ninth Hour' to Marta Minujín's 'Reading the News', could be considered political, : do you think that Comment Down Below could be considered political, in a certain sense? In particular, do you think that your being a woman provides your artistic research with some special value? Comment Down Below is definitely political. It can’t not be. It’s about equality, sexism, objectification, selfobjectification. When you get mad, you get political. I was angry at my unfair treatment, harassment, and needed to shine a light on it. I don’t think being a woman provides ‘special value’. It’s a perspective. Calling it a special value is sexist and patronizing. It is othering and dehumanizing. This is a Women Cinemakers interview
Women Cinemakers
Women Cinemakers
universal female experience. And that is why it needs all the attention it can get. Thinking this only happens to an unlucky few, by a small tribe, is untrue. This thought pattern is wide spread and needs to change. Combining the footage of your performance with editing techniques typical of contemporary filmmaking, you highlight the conflictual relationship between reality and the deceptive qualities of film. What does direct your artistic research towards this interesting direction? I think it started in social media. This construction of images, of identities. I think we all know it, but might not be all fully aware of the aspects as fully as we should be. Social media is like personal propaganda. I’m in that middle generation who remember living without a computer to spending most of our time on it. I view all video, images, text, and research as information and you need to be aware of where that information comes from and how and who it is that is presenting it to you. This has all become very prevalent with Trump’s White House and accusations of ‘ fake news’ and well as Facebook farming your personal information and possible election fraud during the Brexit referendum. An interesting aspect of your practice is the fact that you are concerned in making the viewers aware of your process: we find this decision particularly interesting since it seems to reveal that you do not want to limit yourself to trigger the audience Women Cinemakers
perceptual parameters, but that you aim to address the viewers to evolve from a condition of mere spectatorship. Are you particularly interested in structuring your work in order to urge the viewers to elaborate personal associations? In particular, How open would you like your works to be to be understood? I can only control the audience so much. I know that. Roland Barthes’ ‘Death of the Author’ and so forth. I can guide and lead them to see my meaning as much as possible, but I’m never here to dictate or control. I’m no god. As long as there is an emotional response, I’m satisfied. We have deeply appreciated the way Father and Child features such captivating inquiry into the grammar of body to create a kind of involvement with the viewers that touches not only the emotional sphere, but also and especially the intellectual one. 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": how do you consider the relation between the abstract feature of the issues that you explore and the physical act of creating your artworks? Doing or creating is part of the thinking processes. They happen simultaneously. They are inseparable. I can’t Women Cinemakers interview
Women Cinemakers
A still from Women Cinemakers
grasp the idea fully unless I’m molding it in my hands, seeing how far it can stretch this way and that. To emphasize the ubiquitous bond between everyday life's experience and creative process British visual artist Chris Ofili once remarked that "creativity's to do with improvisation what's happening around you". How would you consider the relationship between the necessity of scheduling the details of a performance and the need of spontaneity? How much importance does play improvisation in your process? I’m shit at planning things out. I hate it to an extent too. I used to feel that with planning you lose certain aspects of truth in the work or performance. That might be complete bullshit and I’m just lying to myself. You can only control things up to a certain point. And I usually stop before that point. A bit slapdash, bish bash bosh. I get excited and want to do it now. Just NOW, immediately, maybe it would die if it didn’t happen right this moment. But this tendency has gotten me into trouble before. I should change. Or I’m planning to change, at least. We have appreciated the way you explore the expressive potential of found materials to subvert the narrative process in order to create a completely new one: German art critic and historian Michael Fried once stated that 'materials do not represent, signify, or allude to anything; they are what they are and nothing more.' What are the properties that you Women Cinemakers
search for in the materials that you include in your works? Affect. If I feel something it’s stored away for later use. Or possible later use. I might just sit on it and harbor a personal love for it instead. Before leaving this conversation we want to catch this occasion to ask you to express your view on the future of women in the contemporary art scene. For more than half a century women have been discouraged from producing something 'uncommon', however in the last decades women are finding their voices in art: 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? I don’t consider myself unconventional. My experience working as an artist is an extremely privileged position to be in. It’s a low valued and low paid career, which you wouldn’t think would be the case if you just looked at the auction prices, but all that money is made on the second market. It’s a labor of love and belief with no stability. You really are at the mercy of funding cuts, diminishing opportunities and commissions, the reduction of space and inflation of prices for studio space, creating high competition, and, of course, sales. Everyone in society is pressured to fill their role, it just happened that artist was usually not an option for women, either to do or to be taken seriously in. But historically there have been any female artists, they have just been left out of the cannon, our general idea of how the past became, because they didn’t fit the mold and weren’t taken seriously. Even now, so Women Cinemakers
Women Cinemakers
An interview by Francis L. Quettier and Dora S. Tennant much of the art world is run and held up by women. 51% of visual artist are women, 50% of MFA’s are earned by women, but only 30% of gallery represented artists are female. As you go up the pyramid, female representation disappears. In the past decades we’ve had the rising trend of older female artists gaining popularity, after a lifetime of work. For how much female support and prop up the art world, they are not supported back and given their due. For the future, hopefully this will even out. But it’s slow and painful to watch and to be a part of. Thanks a lot for your time and for sharing your thoughts, Hilde. Finally, would you like to tell us readers something about your future projects? How do you see your work evolving? I’m currently Artist in Residence at UCA Farnham, testing out a new program for the Fine Art department. I do some teaching and lecturing on the BA course. I enjoy teaching, it keeps your mind more active and open than when I was solely thinking and making my own work. At the moment I’m working on a large body of work under the working title of ‘Our Flesh’, which includes life-sized sculptures, oil paintings, performances and film, all off shoots based on the same narrative. My work is becoming more varied and ambitious. But let’s wait and see, wait and feel. Women Cinemakers
Hello Hyeji and welcome to : we would like to introduce you to our readers with a couple of questions about your background. You have a solid formal training and after having An interview by Francis L. Quettier and Dora S. Tennant [email protected] earned your BA of Arts and Design from Korea University you nurtured your education at the Academy of Fine Arts Vienna, where you are currently pursuing your degree under Pro.Ashley Hans Scheirl & Gin Mueller: how did these experiences inform your artistic evolution? Moreover, how does the relationship between your cultural substratum due to your Korean Hyeji Nam Women Cinemakers meets Lives and works in Vienna, Austria Fantasies can be visualized only by the act of playing, being raw with oneself and the other. What we had as a child, which could have been seen as the aspect of cruelty, and which could have been forbidden by the society because of its sexual aspects, is the most beautiful pureness that one can have.
Women Cinemakers roots and your current life in Europe direct the trajectory of your artistic research? When I was in Korea studying in the art department, I was never doing something that was related to class. I also was not so sure that I would want to be an artist since I was not so sure about the possibilities of art and what I was capable of. Most of the times I was not at school, being more interested in seeing people or experiencing new things. It was about 4 to 5 years which I have spent there and I was meeting people in the theater club, astronomy club or joining a band, going to photo labs or doing modeling and so on. I was never included in a certain group, but at the same time was included in so many things. It feels like I was just continuously trying to fulfill my interests, trying to grasp whatever it is. It is important for me to realize that I am not restricted to one field. These experience does not really affect my works right now visually, but it certainly trained me to be an artist, which is basically not having a rest from following what you want to explore, and knowing how to do it, knowing how to meet people and so on. Also, I got to have really good friends, who I can still work with, even though most of them are in Korea and I am in Austria right now. That is the most important thing for me. Having people who you can work with and who knows you very well. Having an Asian, Korean root, is quite tricky to work with here in Europe, to be honest. It is something I got strongly aware of, and something that is always tagged on my appearance as well as my art itself. This was difficult for me when I first came here and still I feel like it will always be a task for me to figure out how to work with this. My purpose of art is to explore and express something that goes beyond the definition of “Korean roots”, however, I do think that it makes my art stronger having this background. It always makes me question more about what divides us and about the power relationships in our society. Also how I can dismantle the prejudices and work with this in a sarcastic way through art. Having a Korea root and living in Austria is not easy, but for me, art is possible only when things are not easy. For this special edition of we have selected , a captivating performance film that our readers have already started to get to
Women Cinemakers know in the introductory pages of this article. What has at once captured our attention of your insightful inquiry into is the way your unconventional narrative provides the viewers with with such a multilayered visual experience. While walking our readers through the genesis of , would you tell us what did address you to center a part of your artistic joureny on the theme of female masculinity? In the video “Play with me”, I am not just a little girl that fools around and does cute things. I am a being capable of doing so many things that the world can not explain and define. I am like a devil who seduces the viewer with an angel-like appearance. When you are a child, you have the incredible power of becoming something which adults are not able to explain. Female masculinity was something I was questioning about since I was a child. I never understood how women were constructed in our society especially how I was raised as a woman. I liked to play with “Masculinity”, act around and just use it whenever I felt like it. It was part of me. However, I was always
Women Cinemakers punished by it and restrained from it. As a child, I think I was confused since I was extremely sensitive and was capable of playing with a variety of socially defined gender aspects. It always depended on circumstances and on the people I was surrounded with and at the end just made me frustrated and felt like I was restrained from what I am. The masculinity of female is not the only thing that I am concerned about regarding my artistic research, but it was always the core theme that made me question the society and taboos and eventually forced me to question other things in the world. This theme is just strongly rooted in me since it took a big part of my childhood and it never ends since no one can answer it. In you included both your performance and footage that reminds of , to highlight the fact that : how did select the footage and how you structure the editing process of the video in order to achieve such powerful narrative results? After digitalizing the old videos I had and watching them on a computer screen, it made me feel very strange and distinct from what I was seeing,
Women Cinemakers although it was actually my self who was in the videos. Nowadays the only time when I feel pure and free with my body is when I am performing or making films. It is the reality that I am continuously trying to put out in the world. So when I was selecting the footages, I tried to collect the moment where it seemed like it matches with how I perform now, and parts where it was full of expressions and where I seemed like a little creature. - The parts where I was dancing around in a way that is not trained by someone, the parts where I was just expressing joy or awkwardness or desire. The pure desire, and showing them through body seemed so much easier when I was a child. We have deeply appreciated the way features such captivating inquiry into : 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 " ": how do you consider the relation between of the issues that you explore and of creating your artworks? For me, physical activity is part of my abstract world. And my artistic research is to always focus on how to make my body more and more abstract. I feel that the world is abstract, and life is abstract and people are abstract. The problem is that the society tries to make illusions that they are not abstract. That is why art has to exist. The way I breathe is part of my physical act of creating art, as well as the way I close my eyes and the way I dream. It is just hard for me to distinguish what is the physical process and what is not. In my artworks, I try to play with time and movements and strength that comes out from a certain image or a surrounding. My performances or video works may seem just physical, but it is actually abstract; it is like a sculpture made with time and tension. Mexican artist Gabriel Orozco once stated, " ". As an artist particularly
A still from
Women Cinemakers interested in the theme of , how do you consider the political aspect of your work? In particular, does your artistic research respond to ? I believe my works provokes a lot of political questions, especially my videos. First of all, my body is of Asian Women’s living in Europe. Everything I do is related to how people perceive women body, Asians body. The most recent video I made was about nature and desire, about future and porn. It is strongly connected to where our whole world is at right now, the movements of Feminism and equal rights. In that video, I was trying to visualize the future, future where the definition of gender and sexuality are deconstructed and where the futuristic nature and prehistoric nature are mangled with each other. This work is on the same line where artists are trying to create freedom after receiving Donna Haraway’s cyborg manifesto. It also has to do with the cultural movement in Korea right now since there are lots of changes and movements regarding Woman’s position in society. I personally do not think the works I do will be
Women Cinemakers accepted in Korea right now since it is way over the social taboo.. but I believe it will slowly change and that people would be able to see my works without judging. An interesting aspect of your practice is the fact that you seem to trigger the audience perceptual parameters, but that you aim to address the viewers to evolve from a condition of mere spectatoship. Are you particularly interested in structuring your work in order to urge the viewers to elaborate personal associations? In particular, how open would you like your works to be understood? Yes, I am certainly interested in urging the viewers to elaborate personal associations. But what is important for me is to make works that are extremely personal to me. The individual aspects in my works must be the objects or certain things that contains my own personal experiences and feelings and thoughts. I want them to be like a poetry full of metaphor, but the whole theme dealing with the common impulse and desire of human. I just believe that if my work is truly personal and honest, viewers will surely be able to correspond their own personal experiences with mine and create their own story, creating their own meanings with the metaphor. I have no interest in making people feel what I feel, although I am eager to make people feel certain tensions when seeing my works. While you created a powerful work of art to visualize violence in women’s nature, in her well-known
Women Cinemakers , American performer Martha Rosler inquiried into as an ubiquitous sign of women's harnessed subjectivity: do you think that ? Do we need to the current system of values in order resist to the patriarchal society of art? Yes, I do think that social pressure is functional to our male-oriented societies. Whenever I am showing my works to society, it always makes me aware again of how male-oriented our society is. The questions I get are so much different from the ones from male artists. Also, it takes so much more strength and braveness in order to make artworks as women. Sometimes I am angry that I always have to give justification for my works just because I am a woman. I believe we do need to reset the current system value, but in a way of deconstructing the values. To stop the exclusions and otherness we need to work together, creating awareness, give each other empowerment. Feeling not alone makes people stronger for those of us who are not part of the patriarchal society of art and of the whole world.
Over the years your works have been internationally showcased in a number of occasions and " " was recently performed and screened at the University of Arts California: one of the hallmarks of your approach is the ability to allow the spectators to engage with . So we would like to pose a question about the nature of the relationship of your art with your audience. Do you consider the issue of audience reception as being a crucial component of your decision-making process, in terms of what type of medium is used in a particular context? In general, I am not so concerned with the issue of audience reception, I just use mediums that I want to explore with. However recently I showed my new work with a certain insulation around it, in order to make a special surrounding when seeing my video and it worked really well. People were able to be soaked into the circumstances they were in and made them focus more easily on the video that was being played. After that, I am curious about experimenting with mixing different media to create a theater-like aspect but that only has to do with the certain exhibition spaces and shows. Which means it is something that I like to play with as an extra aesthetics. I believe the medium is not so crucial for me, it is interesting and I want to use as many different mediums as I can in the future, but I think whatever medium I use if I have something to say, it will not be so important since I like improvised working process. I can not consider something beforehand and follow the decisions according to that. I just chose the medium that I want to explore with and just follow what that medium tell me to do. Before leaving this conversation we want to catch this occasion to ask you to express your view on in the contemporary art scene. For more than half a century women have been discouraged from producing something ' ', however in the last decades women are finding their voices in art: 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? Women Cinemakers
It took few years for me to find people and a society where I could show my works and share my thoughts freely. Before that, I was not even possible to show my works since I knew I would just be judged as a woman and nothing more. What kept me going was because of those strong people who are fighting, fighting not only for themselves but for others as well. I think it just makes us stronger when we have a lot to say to the world. I don't take it so personally when I encounter people who are still judging me as a woman and not as an artist when seeing my works. The crucial thought that I never try to forget is that there are always people who see my work as it is and who really feels it. Yes, it is not easy, but I am quite positive about the future of women in the art world. There are just so many incredible women artists, artists who are not perceived as male. Especially in the field of performance and video, it is just amazing to see so many artists who are not male. I do feel like in the field of painting it is still so hard because of the history, but also there are amazing women painters nowadays who are world famous. It is just apparently showing us that women artists are incredibly talented and strong. And there are still so much hidden, which makes me extremely excited to wait for our future. Thanks a lot for your time and for sharing your thoughts, Hyeji. Finally, would you like to tell us readers something about your future projects? How do you see your work evolving? Thank you for your time as well, I really appreciate it. My future projects will be mostly videos and films and trying to find a way to combine them with the paintings I make. Right now I am in the process of creating videos collaborating with performers, sculpture artist and sound artist, exploring different methods and finding a new process of making art as a collective. I believe my works will be more and more multi-media as it evolves, but right now I can not focus on anything except for experimental videos and films. Women Cinemakers An interview by Francis L. Quettier and Dora S. Tennant [email protected]