vacant space [tracey emin was here]: reykjavik, Iceland 2010

I am an interdisciplinary artist who links art and life together and therefore motivated by my everyday surroundings.

The scope of my subjects is diverse in pursuit of artistic experiments that intersect with the realms of intermedia such as photography, video, sculptural installation, sound and performance art. 

My conceptual process conjures up and illustrates the complexities, of and about society, community and in the mind of the artist, I seek to share a sense of the fragmentary, ambiguous and the uncertain nature of living.

I frame these explorations critiquing the tradition of self-portraiture, the body and its surroundings. As my hybrid practice grows, I am comfortable working on many projects simultaneously. They feed off each other.

I have been hosting cooking soirees around my kitchen island for the last eight years. I am leading an experimental performance and noise band called: Sonic Electric empowering whomever identifies as a woman to pick up the tools of their kitchen, re-purpose kitchen appliances and introduce them to the medium of experimental sound and performative practice.

I adapt to the political or geographical context where I am working. I think outside the box. As a woman of worlds, I always see and act on things from a multi-perspective edge. My practice is becoming more and more socially engaged, a mindful experience and exchange of cultures. I have much to learn and explore. I enjoy collaboration.

Sonic Electric borders between a choreographed sound, theatre, and cabaret and incorporates kitchen magic alchemy while being strongly anchored in a visual arts environment. Sonic Electric positions itself to outreach to all women in the world.

As Sonic Electric diversifies, I question what is post-feminism today, recruiting artists from all backgrounds who identify as a woman to reuse the imagery of the kitchen to relate to the global, human and cultural/social/economic and political experience/s of our time.

Equally enamored with tattoo culture, new age and campy costume drama, I construct intersections of reality that openly collect and reassemble our collective image-repertoire while sometimes touching on the sublime.

My work can be a frozen instant of isolation, or a moving constructed world of popular culture.They sometimes inhabit skewed perspectives that reveal one's relationship to reality has been transformed by the numerous ways in which images are now constructed.

juliana españa keller