This surprising 21 years old artist became famous thanks to the project And Everything Nice, in which she replaced the bodily fluids, such as tears and blood, with colored glitters.
So, behind what seems to be just an aesthetic provocation, there’s a strong and rooted feminist voice; it challenges the ridiculous society claim which wants women perfect and flawless in every occasions.
Tell us about your process. How do you approach photography?
I think the root of my dedication to photography is that I’m obsessed with developing a visual narrative.
The idea of sharing thoughts optically amazes me, so I like to express my views of the world through representational imagery.
I want to create a dialogue with my work. Speaking out loud doesn’t come as naturally to me, so this is my way of creating and connecting with both others and myself.
Are you inspired by some people or artists in particular?
Always, yeah. Francesca Woodman and Elinor Carucci are really important artists to me. I recently saw a Stacy Kranitz lecture, and she was fantastic as well.
I love female artists with a strong viewpoint.
Why did you want to create And Everything Nice?
The series, like most of my work, was made as a means of getting the viewer to think about traditional femininity in a different light.
The project specifically substituted body fluids with glitter as commentary questioning why women are pressured into staying attractive at all times.
What does it mean to you?
And Everything Nice is important to me in so many ways.
It was my first completed body of work as a photographer.
Before I made this project I was virtually unknown, and in the two years since the expansive digital stretch of the series I like to think I’ve grown a lot as an artist.
I’m constantly learning how to better shape my ideas, and though my work thematic references remain similar to And Everything Nice, since I’ve made the project I’ve been focused on refining the visual facet of my photographic voice. The initial press coverage was a lot of attention for a 19 year old to manage. It certainly wasn’t for the nothing. The connection that others continuously make to this work reminds me how deeply rooted and widespread sexism is. This pushes me to keep working.
What message do you want to communicate to women, who love your photos?
I want my work to evoke a simultaneous question and answer with the viewer. It should create a dialogue about femininity that the viewer can adapt through their own life experiences.
I am often told by women that my work resonates with them because it proposes thought that they agree with but didn’t visually narrate as an art form. I’m interested in combining sociopolitical conversation and art; there is no such thing as apolitical art anyway.
What is feminism for you?
Feminism a pointed lens to see the world through.
On a social level, contemporary feminism needs to be entirely inclusive and supportive in order to advocate that women of all variations can be heard.
Feminism is regarded as “waves” for a reason. There is a unifying thread in every wave throughout history, and in this current social climate it is key to support the women around you.
Strong women raise strong women.
On a personal level, incorporating feminist ideology into your life provides self support and a drive to succeed. I think feminism is necessary on both levels for those reasons.
Which are your next working steps?
I’m currently working on a project that integrates photography and textiles. I’ve been printing self portraits on fabric. I’m interested in the parallels that the two mediums have with each other.
There’s a sense of malleability, anonymity, and missing information connotated with both self portraits and fabric.
I’ve been in the experimental stages of the series for a few months, and I’m finally starting to see work that accurately reflects my thoughts, so I’m happy about that.
I’m excited to see where it goes.