On The Screen
Sex With Los Ángeles
I consider:surrender:embrace:accept that I stand on Tongva Land. Thank you. You are worth nothing. You buy. In a most literal sense, I bring my friends who are involved with sex work to the front porch of my home. Together we are soft. Together are smart. Together we are strong. Sex workers are so often demonized, criminalized, and prosecuted in the American penal code. Sex workers are disenfranchised of their humanity. Sex workers are socially and politically homeless (a major theme of Los ángeles), while the community of sex workers remains hindered from progressing the conversation. With the inclusion of the Tongva Nation and the “á,” the work considers who is included in my home, and who is not. The mainstream wants you to believe you are worth nothing so that you buy. You buy because they have the answer.
Where Do You Stand In The Military Industrial Complex?
"Where Do You Stand In The Military Industrial Complex?" explores the relationship between the military industrial complex and the fragility of humanity. The dancer and the gas station serve as the two main characters of the film and her presence in the space is consequently affected by her movement and positioning in the space. The work encompasses a call to action, propaganda, an awareness campaign and art. The dancer represents the humanity lost, overwhelmed, and consumed by the overbearing state of the gas station and the gas station represents the tumultuous relationship between the wars in Iraq and Afghanistan and our energy dependency on fossil fuels. Blood for oil. The audio is a battle between the sound effects of war and industry and the very human story of the veteran describing his trauma from and grave disagreement with the war. The movement is slow and meditative and the work as a whole provides the audience with a lot of space to ruminate and consider the work, what it represents, and their opinions on the subject.
Origin of Hunger
In this film, I explore the Sex- Industrial Complex. I place ‘Pornography’ and ‘Prostitution’ as extremes on a spectrum. In both, women are treated as objects, that sex is something done to them not with them. This is reflected in Prostitution, as women are routinely subjected to objectification as sexual objects to be used for personal pleasure. Intimacy and Humanity are dead in these cultural practices. Pornography contributes to unhealthy sexual standards which are reflected in the real world through the practice of Prostitution. In Pornography, women are subjected humiliation, pain and abuse. Men are watching this, not women. We reflect what we consume; therefore, these visuals influence how men view women, and how they interact with people on a daily basis. In a nihilistic approach, the work plays with the consequences of this thinking. The work switches the role of domination and provides visuals of control by a woman over a man. The work plays with themes of citizenship. The hunger for culture comes from the idea that Pornography and Prostitution keep women out of the cultural dialogue through maintaining a second-class status as an object to be used. Women have always contributed to culture and continue to play key roles in American progress and change. This is not recognized nor is this common because so often women are excluded from the mainstream conversation. Thus, the work exaggerates an eagerness and necessity to contribute to the conversation by using words associated with hunger and starvation. Lastly, the work plays with themes of mainstream media control over sexuality. The mainstream dialogue consists of worth stemming from sex. Sex is instinctual and primal and the media exploits our animal nature to misdirect our standards of sexuality by promoting overtly sexualized images of men and women that maintain a heteronormative and patriarchal hegemony. As we enter a highly sexualized era, it is important that we remind ourselves of healthy sexual standards and healthy sexual experiences.