For years, I have observed how institutions claiming to support women artists can still operate through silence, opacity, and selective visibility.I have been working as a photographic artist since 1977, developing a long-term research practice on female identity, social mimicry, trauma, anorexia as a coded language of the body, and ...

In Under Instruction, I used photographic projection to stage the body as a site of inscription rather than expression.  Historical images, pedagogical diagrams, and intimate iconography are projected onto the artist’s own body, producing a surface where authority, inheritance, and surveillance operate without physical contact. The work resists autobiographical confession in ...

This series confronts the sanitized, neutralized art world by weaponizing despair — portraying the rawness of human experience as a critique of indifference. It interrogates complicity, commercialism, and the erasure of trauma in contemporary visual culture. The series is a manifesto: the viewer cannot remain neutral. Despair fractures identity. These ...

My recent works advance my long-standing investigation into trauma, identity, and the politics of visibility by reconfiguring the mask as a carrier of emotion rather than a concealment device. In my hands, the mask becomes a volatile interface—half shield, half confession—through which exiled feelings find form. This strategy exposes the ...

In this new series, I advance my long-term investigation into the fractures of selfhood by introducing a masked figure whose porcelain stillness becomes a site of resistance. The mask—rigid, fragile, and deliberately unalive—interrupts the Western obsession with the expressive face. It rejects the algorithmic hunger for legible identity, for neatly ...