I grew up on a small aeolian island called Lipari where I was captivated by the endless burlesque of catholic ceremonies and relics.

On returning to London as a child I grieved the apparent death of god. The sacred desperation that filled my hole was the neon Soho back alley notion of the illicit.

In a post orgy world when the great sexual revolutions have all taken place and every foible, kink and persuasion have been exhausted, monetised and advertised, I am fascinated by western consumer culture’s continued preoccupation with sexuality, transgression, and liberation.

Like Bataille says, transgression is not simple hedonism or unrestrained sexual license; rather its power lies in the play between taboo and transgression, through which one systemically constructs and then oversteps all laws (i). In the absence of God, transgression appears to offer the ultimate experience of liberation from self and from failing social structures.

In my work, female sexuality stands as a cypher for the shadow, for the unmanageable depths of the psyche which cannot be disciplined, ordered or contained (ii).

I am interested in the sacro-sexual® aspects of the feminine that hark back to a time before Eve and *that* apple, a time when guilt and shame were not intrinsic aspects of sexuality.

It’s the untameable chaos of Dionysus, projected through the tv eye of Apollo, it’s the creation of ritual art that allows the viewer to process what needs to be released. Because we matter, and our bodies pray for consciousness.

My work embraces the illicit personal and societal shadow because, now more than ever before, what is hidden must be seen.

——

i. Urban, Hugh B. Magia Sexualis. Sex, Magic and and Liberation in Modern Western Esotericism. University of Calfornia Press. 2006.
ii. Farrar & Farrar. Witches Way. Robert Hale. 1984

I grew up on a small aeolian island called Lipari where I was captivated by the endless burlesque of catholic ceremonies and relics.

On returning to London as a child I grieved the apparent death of god. The sacred desperation that filled my hole was the neon Soho back alley notion of the illicit.

In a post orgy world when the great sexual revolutions have all taken place and every foible, kink and persuasion have been exhausted, monetised and advertised, I am fascinated by western consumer culture’s continued preoccupation with sexuality, transgression, and liberation.

Like Bataille says, transgression is not simple hedonism or unrestrained sexual license; rather its power lies in the play between taboo and transgression, through which one systemically constructs and then oversteps all laws (i). In the absence of God, transgression appears to offer the ultimate experience of liberation from self and from failing social structures.

In my work, female sexuality stands as a cypher for the shadow, for the unmanageable depths of the psyche which cannot be disciplined, ordered or contained (ii).

I am interested in the sacro-sexual® aspects of the feminine that hark back to a time before Eve and *that* apple, a time when guilt and shame were not intrinsic aspects of sexuality.

It’s the untameable chaos of Dionysus, projected through the tv eye of Apollo, it’s the creation of ritual art that allows the viewer to process what needs to be released. Because we matter, and our bodies pray for consciousness.

My work embraces the illicit personal and societal shadow because, now more than ever before, what is hidden must be seen.

——

i. Urban, Hugh B. Magia Sexualis. Sex, Magic and and Liberation in Modern Western Esotericism. University of Calfornia Press. 2006.
ii. Farrar & Farrar. Witches Way. Robert Hale. 1984