absurd exhibits a wonderful juxtaposition; I look forward to exploring that line myself in future projects. Another filmmaker who stands out to me as a source of inspiration is Jan Svankmajer. I came across his film Alice as a teenager and his work is what really thrust me into discovering surrealism in all its art forms. I have him to thank for introducing me to so many exciting artists, I truly would not be the artist I am today had I not discovered his work at such a critical age. I was, and still am, completely captivated by the way he manipulates objects in space to evoke feeling and meaning. Visions is a work of unusual maturity and power. What do you hope viewers will take away from it? As a creator, I don’t want to tell people exactly how they should view artwork. I stand firm in the belief that there is one
way an art piece is made, but an infinite amount of ways it can be viewed and interpreted, all of which are valid. As Merce Cunningham said, ‘The only way to do it is to do it,’ which goes for both creator and viewer. I hope viewers do find things coming up in themselves during the experience of viewing Visions, and I hope to give them an impetus for thoughtful reflection. For more than half a century women have been discouraged from getting into filmmaking, however in the last decades there are signs that something is changing. What's your view on the future of women in cinema? I believe the future of women in cinema is extremely exciting. When looking at women filmmakers, particularly in today’s world where we are at the forefront of this new, hyper-technological age, I am reminded of the women surrealists of the 20th century. In that time, many women artists were naturally drawn to the surrealist movement