The Coming of Cindy Claus (2019)

The global religious tyrannical dictator Father figure Sinterklaas learns a lesson taught by the whip, handled by his long-lost lesbian twin sister Cindy Claus. He takes a turn for the feminine and undergoes ancient mid-winter rituals that are implemented in a new tradition.

Watch online at Videas:

The World Is her Oyster (2016)

Womxn reclaiming their five senses, going out at night in touch with their emotions and sensuality. Venturing into the city, exerting their presence, ghosting around, leaving an imprint where they thread, their energies felt after they leave. These genies have left the bottle, and no-one can put them the fuck back in. Relieved from the shame society has tried to put on their expression, they celebrate their sex with joy on their terms, all senses open.

Music by Ceasless:

Bodypaint by Jess Graham

The Feminazi’s Are Coming (2012)

Censored by YouTube!

This work is in part a collage work in the style of 2010s YouTube
conspiracy videos. It was available on YouTube until it was removed by the platform for ‘hate speech’. An appeal was made, without success.

In the early days of YouTube conspiracy theory videos I noticed that such videos could get many views with very little (appealing) and low-quality visual content. Just about 3 photos, someone filming out of an airplane on their phone as it was taking off, and a voice-over were enough to gather 2 million views on the Denver Airport Conspiracy, for example. One of the photos in the video was about the mural painted at Denver Airport, this artwork and its symbolism were presented as evidence of the theory. That prompted me to also make murals and use them as backdrops in the end of The Feminazis Are Coming for the live action scenes. Using the YouTube conspiracy theory format as an artistic template, I made this video, signalling a unique trend not fully knowing the magnitude of what was to come.

Since, the value of truth has itself been devalued by the presence of social media for the sake of company’s profits and power-greedy nations. The presence of these media in all our lives is now far greater than in the early 2010s, when these collage videos seemed somewhat sloppy with a considerable camp factor. Despite science-deniers and the like probably feeling otherwise, it is these ‘are birds real?’ fictional narratives that are now mainstream. To the rest of us, what is the story we want to tell?