As a feminist writer and visual artist, my photographs have been censored because of ambiguous representation and viewers' fear of the unfamiliar.  What I see through the camera lens is my reality; nothing is manipulated during the analog developing or printing process.

Both my digital stills and my digital narratives play with how we perceive the familiar and the unknown. The elasticity of our conscious animates the magic of the unknown. Rather than taking for granted the “realness” of our everyday lives, I am defining magic as a conscious process of witnessing the infinite potential of each moment, each interaction. La réalité dépasse le fiction evokes E.T.A. Hoffman's exhortation in The Sandman, “There is nothing more marvelous or madder than real life”.  Aware of the precariousness of our digital age, the idea that reality goes beyond fiction compels me to engage my viewers' corporeal imaginations.  

My video works depict what goes on behind the scenes (ob-skena) of social mythologies, the body, and its consciousness. Both the footage of my photo-sessions and video talking-heads of philosophers layered within my self-portrait emphasize the fertile contradictions of mind-body. The tension of movement invites viewers to inhabit the density of psychological and corporeal space. That which is ob-scene, off-stage, is imagined. 

As a photographer, I make sculptural, cinematic, and performative works. Collaborating with artists, writers, and scientists is essential to my working process. My light boxes reflect these dynamic relationships.