How did you become a photographer? Would you define yourself as a one?
My first encounter with photography was pretty amateurish. As many of us, my first contact was at home. I used to have a toy camera, and I loved to play with it. It could not even make images, but I was engaged in the act of taking photographs.
My father had some cameras at home. I still preserve a Polaroid camera and one of the first Sony digital cameras that was out in the market. I started to take photographs in a pretty natural way. At some point, in the university, I decided to learn more about photography and took photos of my family and friends. I never thought at that point that I would work in something related to art or photography… Which is why no, I do not consider myself as a photographer. I’d feel more comfortable with the “visual artist” label if I had to pick one.
What drives you as a photographer?
I barely take pictures… I’m not interested in taking photos, I’m more interested in how photography is produced, distributed and consumed, in the dynamics, in the flow, in the invisible part. I’m also interested in the meaning of images working as a group, as a cluster, in the gaps, the interstice between them.
In 2012, I decided to remove all the images from my website and commence a symbolic Visual Strike. For a thousand days people would only find a text explaining this lack of images. The commitment of not distributing any image brought me the opportunity to understand my photographic production in a new way. Since then, I have been interested in all the facts surrounding photography that are not the image itself. For me, photography is not about the visual content, it is about much more. I’m interested in working with the idea of dematerialization, to discuss issues that revolve around contemporary iconic super-habit and the impact of seventies appropriation on the dominant digital visual culture.
Do you think there is such a thing as a ‘woman’s gaze’ in photography? Is this something you can relate to?
I know the term can be controversial. As a woman, being defined by our gender can feel reductionist. Many prefer to be considered for their work rather than for the fact of being a woman. In one hand I feel that way, but in the other hand I feel comfortable with the idea of the “female gaze” as an artist. Many female artists became popular during postmodern criticism creating bodies of work that critique the “male gaze”. Artists such Barbara Kruger, Martha Rosler or Sherrie Levine use appropriation to let us think of images in a different way, they invite us to rethink those images, and their impact on art history is enormous. I feel in debt to that female gaze.
Has being a woman influenced your work as an artist in any way?
I am not sure about it, I could not imagine what would happen if I identified myself with a different gender. This is a good question…What I know is that I find it very odd, when I apply to an art contest, that they keep asking me whether I am a woman or a man… Does it matter at this point? Are there only two options? Why do they keep asking this? My inquiry probably implies some answers to your question.
Do you live off your art?
I do now. The balance between academics and my artistic practice works for me – I’m also an adjunct instructor at Syracuse University in New York. But I did not make real money with my art until I was almost 40 years old. Working with Alarcon Criado Gallery has made a real difference. Being an artist is a long-term career… I do not know any artist who decided to work in art because of the profit. You do it for other reasons and it implies big sacrifices. We are the last romantics of capitalism!
Which authors have inspired you? Are there any women photographers among them?
In my work I quote, use and rethink many works from other artists… The list is huge!
In addition to those I have already mentioned, there are many women artists that are fundamental to my practice. I could add names such as Dora Maar, Yoko Ono, Mierle Laderman Ukeles, Concha Jerez, Hito Steyerl, or Isa Genzken. And also, men artist such as Marcel Duchamp, John Baldessari, Joan Fontcuberta or Nacho Criado. Important theorists such as Lucy Lippard, Rosalind Krauss, Susan Sontag and Rosi Braidotti have had a huge impact on my practice. Art and theory made by others inspire me constantly, and I enjoy being a beholder and a reader so much.
