Biography
The presence of elements such as gender, or cross gender, and opera as the maximum exponent of theatrics and fiction, is by no means central to, or characteristic of my work. In both cases, they were mere tools or “materials” with which I initiated my approach to other distinct topics, these being the true central and characteristic proponents of both my work and the investigative processes from which it originated. The use I made of these exponents were in some ways superficial, not meaning by this that I approached them light heartedly. Instead I preferred to view them from the perspective of the spectator, i.e., with the importance, which they attributed to the deciphering of the pieces. On the other hand in the case of Opera I recognise not only its characteristic as the “maximum exponent of theatrics and fiction”, but also, and perhaps more appropriately, its characteristic as the maximum exponent of performing arts as a union of all fine arts. Opera is the most complete and consequently most complex of all theatrical productions. Furthermore opera is the exponentialisation of reality and of its great and small spontaneous fictions; sentiments, pain, emotions and extreme affections of the human being giving form to the narrative of their lives giving rise to successive passages between reality and fiction. It is within this context that opera emerges as a subject or tool in my work, as a form of generating hybrids narrative.
In art, fiction does not attempt to oppose or break from reality, instead it chases it, for reality is fantastic in its diversity. Similar to the stories that we were once told and somewhere towards half way began to suspect that they weren’t true. Instead however, we chose to believe in them in order to extract the best from them, with the constant belief that there is no better fiction than reality.
