Images are fixed on the retina; they are stuck in my mind as if they were folders and files that are always available for me whenever the need to create something demands it.
The memory of a specific scene leads me to seek it – usually a framed close-up – and take a STILL photo of it. Then I draw it as I consider drawing to be the most noble tool.
This way the scene has a new pictorial surface: pencil and pastel on paper, in color or black and white.
The development of these pieces over several years has converged into the challenge of creating my own scenes, filming what I imagine and starting the procedures anew but in reverse.
Apart from the medium: drawing, video or performance, the driving force is cinema, always cinema: suspense, film noir. drama, comedy.
Grabbing the stills, donning the bright clothing of a cinema icon, all of this involves a trip for me, which is sometimes distressing, to the very inside of the scenes and the back of the camera.
I’m conscious that impersonating Marilyn is probably a fun and joyful experience for the public, whereas on the other side, the bright Marilyn is in the deepest darkness, smiling.