Tell us a bit about yourself, and your work.
I started my career as a choreographer and performer, made dancefilms for fifteen years, and during the last five years I have moved towards visual art, working in sculpture, video installation and now performance.
Could you introduce us to the works SPIEGELEI and s(he)?
I made SPIEGELEI and s(he) in 2011 – they were made in tandem. I was actively working on SPIEGELEI, and s(he) came about from a series of objects I was toying with in the studio.
I am not really a magpie but I occasionally come across an object I am strongly attracted to. These works began when I found a bin of used ball bearings. Shortly after, a bowl of skin coloured balloons drew my attention at a dollar store. I didn’t intent to put these two objects together but when I started playing with them it seemed like something new was trying to emerge. Forms, cells, body parts, orifices. This was the beginning of the work.
The word Spiegelei is the German term for a fried egg served sunny side up, but literally it translates into English as mirror egg (Spiegel=mirror, Ei=egg). For me, Spiegelei alludes to the body’s ability to interpret and misinterpret the world around it. It suggests processes of (re)production, mimesis and examination that are central to my work, and it gestures towards a kind of absurdity and duality often found in Surrealist practices. I also chose the title Spiegelei because if you don’t understand the word you have to rely on an affective response to the physical aspects of the work – in other words, you have to trust your body’s reaction.
Butted up, one against the other, the tables in SPIEGELEI form an assemblage that stretches into the gallery. The little objects placed across these tables resemble organ-like structures and feel as if they are of the body, or of a new type of body forming. They feel sexual or (re)productive but are not gendered. While they are somehow related to a variety of bodily forms, such as eye, egg, seed, anus, testicle, breast, bellybutton, they are also unfamiliar. Not belonging to existing categories, they are somehow base, and their horizontal placement implies movement and pulse. Or as Bataille would say, they are “formless”. (I take this definition of “formless” from Formless: A User’s Guide by Yve-Alain Bois and Rosalind E. Krauss)