The Feminist Fatale
Describe your process. It’s encompassed by what I call “Feminism 4D.” I try to live feminism in all directions and at all times. I have analog processes and digital processes—IRL and URL. My analog work is often about creating community and dialogue. I spend a lot of time online, navigating and thinking about the spaces, images, language, and algorithms of social media and the internet. I find the internet fascinating and terrifying… and totally intoxicating. It is a barometer for contemporary culture.
Has the political climate taken your art in a new direction?
The things that I was doing before the election—making posts about equity and legislation, organizing feminist events, building space and opportunity for participatory dialogues and projects—[have] become amplified [since]! What is your first memory of making art? My parents were very creative. We dyed our milk or mashed potatoes blue, green, or purple, for fun. My mother encouraged all kinds of crafty things that involved innovation and recycling… I remember making a Jackson Pollock– style painting in fourth grade, and the teacher was effective in getting me to
understand that it wasn’t about the finished painting, but rather about the act of making it.
How do you walk the line between art and technology?
Is there even is a line? Art, life, technology, nature— it’s all integrated all the time for me.
I’d like to learn how to code, and how to be a hacker. [laughs] I think coding and hacking hold the most potential for activism, institutional critique, dissent, and intervention in the digital age. In all reality, it’s unlikely I’ll ever be a hacker—but maybe I can team up with one! micolhebron.com
“L.A. HAS A LOT OF SPACE IN BETWEEN THINGS.
THERE ARE A LOT
MOMENTS, WHICH CAN MAKE [FOR] GOOD PICTURES.”
“I’m ready to take what I’ve learned
from recording near-still moments and apply it back to
the narrative of cinema,” says artist Owen Kydd about
how he feels his video installation
work, such as Additive (2016), has prepped him for