Women Cinemakers Being a woman contributes to yet another facet shaping of the Zeitgeist, evidently, due to some of the main attributes of womanhood, sharing, caring, relationally, circularity. But those are attributes are of humans. They belong to the realm of the feminine wisdom, yes, but men also have them, just as we, women, have access to the masculine wisdom. Again balance is what I seek. I explored that balance, between the masculine and the feminine in a recent project, called “The alchemical cabinet of desires. “ But I totally understand what Gabriel Orozco says. Plus, I am perfectly aware that my interest in my inner reality, stems also from the Zeitgeist of the moment, and the part of the world in which I live, where certain needs ( more physical) have already been met. I am aware of my privilege of having time to be able to explore the inner reality, and that privilege doesn’t happen in all corners of the world. Another interesting project that we would like to introduce to our readers is entitled The alchemical cabinet of desires, an art project inspired by the ancient tradition of alchemy and dreams. We have particularly appreciated the way it inquires into Jung's theories regarding the interpretation of alchemy as a symbolical process: how did you developed these concepts to create your work? I used to have lots of bad dreams. This was the result of my spiritual practice again, because if you truly dive into spirituality it is not only mindfulness or bliss! You awaken parts in you, that you are not aware of, its like opening a can of worms. So I became very interested in Dream Yoga, and that led me to explore my dreams, my shadow, often times expressing itself in nightmares. One day I woke up fed up with my fear of my dreams. I had to do something about them. Coincidently I read Jung’s book “ Memories, dreams, reflections” which is an autobiography. The book really touched me. I felt that Jung was my friend, a literary one! So I began doing collages about my dreams, while reading more about Jung and his work around alchemy. T , began taking shape! The project is the result of a 2 year investigation. In it I was able to weave my investigations of the inner world, with art practice. This led me to developed a very personal method of spiritual practice which included a dream diary using collage, drawing as meditation and bibliography research about Carl Jung. I like to entertain the idea that even if T quite personal project, the way it is displayed is universal.
Its final result was an immersive installation, that was exhibited at the National Museum of Contemporary Art. It included an alchemical cabinet, a series of 36 drawings illustrating the 10 phases of alchemical transformation, a dream diary, a collage dream-journal and drawing- herbarium, inspired by my dreams done, and an interview with a non binary friend, Arian Bloodwood, about intimate community. During the 40ties and then throughout his life, Carl Jung researched alchemical treatises, particularly the Rosarium Philosophorum, written in 1550. In various of his books, Jung described how alchemy’s investigation on how to transform stone into gold ( lapis philosophorum, or the philosophers stone) should be interpreted not only as a physical quest ( which originated chemistry, as we all know) but also as a process for profound spiritual transformation and the integration of the soul in the body. The final result of the alchemical process, was the origination of new being, which integrated in itself the two primordial energies: male and female. The process, not easy, but very rewarding, was called by Carl Jung, individuation. That was, the final goal of the alchemical process, where the philosopher's stone, if understood symbolically, meant reaching the center of the star ( desire stems from " reaching for the stars), ie, the inner gold. To arrive to that final stage, it was necessary to go through various phases. Jung delineates those phases, organising them in 10 phases, in his book “Psychology of Transference” (1954) . He also mentioned how the process tended to last 9 months, and how sometimes, before the process, it was usual the occurrence of premonitory dreams. While marked out with such a seductive beauty on their surfaces, your works are marked with captivating ambivalent visual quality: rather than attempting to establish any univocal sense, you seem to urge the viewers to become active collaborators regarding the extraction of the meaning from the work of art itself. Would you tell us how much important is for you that the spectatorship rethink the concepts you convey in your pieces, elaborating personal meanings? In particular, how open would you like your works to be to be understood? Yes that is very important to me. In order to truly relate, you need to work with openness… but also closure… And what I mean with closure,