Feminist Artist Statement
My earlier works involved mirrors as props, as metaphor. Self-examination and reflection were major political themes. The monitor -- an ongoing mirror. In the late sixties and early seventies the feminist movement exploded. Anger was a positive driving force. New technology gave women a new way of expression. During this time our friendships altered. This was a time of women talking, becoming more open, sharing how they were represented, revealing their position. My work developed against this background; I became involved in the roles women play.
This shift was also true for our friendships with men. We did not have to compete in the same way. The process was exciting, difficult and totally necessary. I will always remember that when I edited I Want To Live In The Country, 1976/77, a well known video artist and friend said to me, ‘I didn’t know women could think on two levels at the same time.’
I often refer to mythology and become interested in a particular time and place and how to bring it into the present. More recently Lines in the Sand based on "Helen in Egypt" by the poet Hilda Doolittle (H.D.) lead to a consideration that war is fought for an illusion. The Trojan War was a trade war. Helen went to Egypt; her phantom copy existed in Troy. I set the piece in Las Vegas where Luxor the casino stood for a contemporary copy. I did not attempt to play Helen but to translate the situation, referring in a poetic way to present conflict.
During the woman’s movement it was especially important for women to inspire women. It is also imperative that men and women inspire each other. There is still room for self-examination. We must look outward to other cultures in diverse situations and take care of our collective futures.