There is a romanticism in my work, and it is also self-implicating. One of the many ways in which classic camp operates is to turn the declaration of appreciation for something into a coded declaration about oneself. What do you assume about someone who loves such and such a movie? What does that person intend you to assume? To some extent the ‘work’ of an artist like Elizabeth Peyton lies in the cumulation of the
oeuvre. What position is described by a set of otherwise more or less
equivalent (even blank) portraits (or references)? Sometimes a cast list can almost entirely describe a movie. To whom (and where and when) is this
description legible? I am interested in forms that contain multivalent, or variably oblique, information.
I assume that my context is a mannerist one. I don't mean an organized movement; instead I mean an attitude or method — a self-reflective,
self-reflexive interest in virtuosic culture portraying culture.

Selected solo exhibitions: 2003: Lombard-Freid, New York; 2001: Analix Forever, Geneva; 1999: In Vitro Alternative Space, Geneva.
Selected group exhibitions: 2002: Immediate gesture, Lombard-Freid, New York; On paper, Andreas Grimm, Munich; Enough About Me, Momenta Art, New York; 2001: B-Hotel, P.S.1, New York; Wight Biennial Twothousandandone, Los Angeles; And she will have your eyes..., Salon de mars, Geneva; 2000: Drawings and Photographs, Matthew Marks, New York; 1999: Art Unlimited, Art Basel, Basel; Beyond Flaming, A48, Grenoble; Holyoke Center, Cambridge, USA.