1. My relationship to her is almost like that of a family member, as I have developed an intense interest in her work and wish very much for her
success. You could say our relationship is itself a model of center/
periphery.
2. Her piece, The Great Wide Fluorescence, tackes the issues you refer to head on. The proliferation of goods and information in some parts of the world and the total lack of their distribution in others is a case in point. This piece highlights not only waste and greed, but also the beauty of
products and packaging and the up-all-night grandeur of availability that is typical in the United States. In this way her work is the margin indicting the center, but it also turns this dynamic inside out by undermining itself.
3. Each artist, as an undetermined cultural moment, decides what
constitutes cultural integrity. Hybridism and translation are just as valid as
indigenous approaches. Anything that smacks of didacticism or the
absolutist position should be avoided, regardless of origin. Authenticity finds many forms and does not necessarily need to be homegrown or even social in nature. It will become so. The esoterically creative individual can be celebrated 24 hours a day we don’t need to wait for the parents
to go to bed.
— Benjamin Engeli


Selected exhibitions and special projects: 2003: Programme Restaurant, Centre Georges Pompidou, Paris; 2002: The Great Wide Fluorescence, Sala Diaz, San Antonio, USA; A Show That Will Show That A Show Is Not Only A Show, The Project, Los Angeles; 2001: MFA Thesis Exhibition, The Wight Gallery, The University of California, Los Angeles; Not at Home, Akademie Schloss Solitude, Stuttgart; 2000: Girls Girls Girls, The Hartsook House, Las Vegas.