Can a click on a virtual body invite transgressions on real body?
Do we exploit ourselves in exchange for clicks, and does that exploitation manifest differently across age/race/sex/gender?
This series examines the actions we take in the digital world, and their impact on the real world. The seemingly inconsequential act of clicking while interacting under the mask of anonymity, behind the screen. In a world where clicks are the new currency, how do we avoid inflicting or perpetuating suffering on others though our clicks? Is it possible to empower ourselves through the action of clicking?
A mouse click on a virtual body can be an act of affirmation, an act of curiosity, or an act of violence. However, above all, a click today represents an exchange. One sees this through our tendency to value ourselves and content through the “likes” and “followers,” on social media. In a world where the virtual overlaps with the real, we find more and more that this value system begins to control our everyday lives.
When one relocates to Paris, France after living in the United States, they are confronted with a different expression of sexuality. To the foreign eye, the elegant and flowing body language of the French can be (mis)construed as attempted seduction. This series was inspired by the French's nuanced expression of sensuality in opposition to the American performance of hyper-sexuality. From this idea emerged the concept in which the artist develops through dark and comedic visual representations: Sexe Sans Sex (which means "Sexe (french spelling) without Sex (English spelling)."
The Breast Series is inspired by Lala’s past, a medical procedure resulting in Lala having one real breast, and the other breast an implant.
Lala studied images of herself and other women’s breasts, and sat hours in front of a mirror in order to face and overcome her demons.
Explores the themes of identity, the beauty/monster within symmetry, and transitions.
Throughout my life, I have filled out forms regarding sex, gender, sexuality, financial/criminal background. As a Venezuelan-American, left-breast reconstructed, gender queer person, it is never easy to fill in boxes. After piles of paperwork, I began feeling alienated, and imposed on. I was defined by definitions that were not mine. In order to rectify the situation, I took the forms and imposed my body on them, in turn appropriating and re-humanising them.