Based on the key of my dreams, this box is build-up from autobiographical vicissitudes. It is the written memory of what I have dreamt, of memories I gathered and kept and the revisions of what I remember. Every morning, to concede credibility to being awake, I start with the place and the date. Then, I describe automatically in a frugal manner what I remember: each corner, each person or thing that I found the night before. Traveling, I search inside what I've kept away: features, signs, bends of experienced and I restore the subtle material of my consciousness. This tool is necessary to make my own creation.
But I would not like to force anything. I admit that in my dreams I am another, even others, indeterminate ones. By being others, I am not worry about myself. I am not anymore what 'I have lived in my dream' but what it is here and now, the starting point of what it is in front of me. I do not live 'of' my dreams but 'from' my dreams. Therefore, perceiving and writing my dreams, word by word, day by day, is my principle.
Bed Time Stories is the stage of this private space, re-formatted in a series of diaries, hand-written, arranged in a box that fills the open space of Pandora's Box. With a shamanistic eye, with what I have seen or once felt inside my cloister, I participate in Art from the hold of a Feminine condition. I am intuitively engaged in an abject reality from a post-feminism which rescue the flows of the body-cycles.
Uncensored, I arrange a baroque reality through the somnambulist state of the non lived memory, what I have not experienced, not traveled, neither seen, and then it is mediated by the practice of my visual art and the paranoid reconstruction of scenes.
Rather as a symptom than illustrating the key of its meaning, the box is impregnated by the multiple senses of the artistic creation. At the end, one could say these visions overwhelm my entire perspective and that painting serves as an emblem of this process.
By putting in crisis the veracity of photography and denying the obscene load of advertising, the 'portrait' I propose escapes from the similarities of myself, of the narcissistic gesture. It escapes from reflecting oneself in the mirror, from being seen 'as one is'. Instead, it proposes what the fatigue of the eye captured during a moment of rest.