A young woman looking in a mirror is seen looking into her eyes, in search of the gaze of others. She kisses her reflection, slowly and intensely, the image she projects to the world.
Initially there is an image and its various means of exposure.
A relentless pursuit of depth in the images, exploring each time new ways directing the stage back and forth between photography, video and theatrical performance to dive into repetitive environments, sensual and abstract.
In 2007, the performance installation, The Loneliness(es), demonstrated these practices.
The piece used looping gestures, texts and songs. Performed by four female actors and singers placed upon pedestals, they display their solitary condition.
They are, in turn, dreamy, sad, optimistic, curious and hysterical.
These are intimate portraits of the eternal quest and the best secret of happiness and power, portrayed with derision, tenderness and intransigence. Julia Kristeva describes very well the complexity of these contradictions through her books Strangers to Ourselves and Tales of Love.
This installation was executed in two stages between 2005 and 2007. The first being the production of the video, depicting a made-up woman observing and physically worshipping herself and, in doing so, observing the gaze of others in the hope of constructing a whole.
Is the piece an insight into the latent homosexuality, belied by our narcissism, which lies within us, or purely an ode to self-love?
The second stage came about with the staging of the piece: projected into a corner. Her kisses land upon the meeting of the two walls. The angle of the elusive piece gives this image another dimension, presenting the meeting of two perpendicular lines, like two separate entities.
The natural human ability to dream, to project outside itself and to live within its own narcissism. The Kiss is the reflection.