Love.Kite. Salt, 2013
The performance suggests a way of looking at the consequences of backward glancing.
I was interested in the depiction Lot's wife - the figure from a biblical story that I grew up on. Through the performative action, I was responsive to change the way she was depicted originally in the story.
My inspiration for this work came from my childhood memories and my familiarity with the tale as a child growing up in an orthodox family. Lot’s wife was punished for looking back at her homeland as she was being expelled from it. She transformed into a pillar of salt after turning to look back. I envisioned her story while transforming it into a secular one by transposing her punishment to my alter ego. Lot's wife became a key figure for certain modern conceptions and representations. One of the great inspirational sources for me was the book “Forgetting Lot’s wife” by Martin Harries, which he provides a theory and a fragmentary history of the destructive spectatorship in the twentieth century.
A hand-sewn red flag that I made and collected during the time, and I used them often as objects and props in some of my performances and installations. I was inspired by the idea of being "Matriotic" - A term formulated in the writing of professor Elouise Bell. Matriotic according to Bell derives from the Latin word mater. Matriotic consequently is one who loves and supports the planet as a whole. Matriotism is the yin to patriotism’s yang. It’s about Cosmos, not Geophysics. It’s about what we see from spaceship windows, not what we see on a map or a globe with the regularly updated borderlines and political colour coding. Matriotism is about one sun by day and one moon by night. The moon waxes wanes and marks months and menses, whether you live in Moscow, Idaho, or any other places. It is about what human beings have felt since the dawn of time when they lay on their backs on the ground and looked up at floating clouds or glittering stars.