The piece is a caricature of the tension in the Emin show, inspired by the industriousness and survivalist mentality of Beaver Medicine in Native American teachings. It is a portrait of a wild woman. She is a wanderer and a builder. She is named after a witch in Native American folklore called EyeWalker that carries the power to manipulate and collaborate with the natural world turning stones into turnips, among other things.
As a performance artist and choreographer, I collaborate with visual artists, musicians and dancers to create experimental hybrid dance performances based on rituals and traditions of native cultures. The performances can be regarded to as Art Mysticism because they are often staged ceremonies that exhibit the evolution of our relationship to spirituality with references to the occult and death. I approach each project with the intention of creating sacred space.
I am also informed by the magic in the practices of witchcraft, the cycles of the moon and the Native American Medicine Wheel. My approach is visual and cinematic organizing my process through storyboards often influenced by the highly stylized symbolism in David Lynch films and German Expressionist films of the 1920s. The work is often moody and subliminal, as in dreams. I practice intuition and create personal rituals to induce the progression of the work.
Part of the Attitudes in Latitudes which spans over both the Richard Shack Gallery and Project 924 is the result of the curator’s research trip to Winnipeg. The exhibition that features six artists from the Canadian microcosm and six from Miami explores their strong, and yet sometimes peculiar connection to the landscape that surrounds them as well as the creatures, either real or invented, that inhabit it. Attitudes in Latitudes shows us how artists can teach us all to pay more attention to the majestic nature that surrounds us.