How can I support the work?

The current body of work is in development and requires funding for its physical realisation, exhibition, and wider dissemination. Support is possible through the ongoing crowdfunding campaign on Kickstarter.

If you would like to review the financial plan first, you can do so here.

By contributing, you become part of the realisation of the work and support the continuation of the practice. Selected rewards, including limited-edition paper prints, are available to supporters.

Why does She who bites need funding?

The seven works in this collection have already been developed digitally. The next stage encompasses the transfer to large-scale canvas. Due to their scale (approximately 3×3 m), this process requires substantial production resources, including custom-made wooden frames and specialised materials.

As personal resources are currently insufficient, both the physical realisation of the works, their exhibition, and support professional marketing and PR depend on external funding. Active efforts are being made to secure financial support through crowdfunding.

This collection marks the first step in a broader vision, in which She who bites evolves into an impact-driven platform for feminist art, open to collaboration with other artists.

What is the artist’s objective with this body of work?

The work does not stem from a predefined objective, but from an intuitive process shaped by a strong sensitivity to injustice.

She who bites’s work exists at the intersection of personal history and collective urgency. It transforms lived experience into visual language that confronts, questions, and connects. She does not aim to provide answers, but to create space; space for discomfort, recognition, dialogue, and change.

Any meaning or impact arises in the encounter between the work and the viewer, rather than being imposed.

Why does the artist not work under her birth name?

Under which artistic movement or style can She who bites be placed?

The work resists clear categorisation within a single artistic movement. It draws on elements of surrealism in its dreamlike logic, symbolic density, and the merging of the real and the imagined.

At the same time, it engages with visual strategies associated with pop art and contemporary image culture, including bold aesthetics, mediated imagery, and references to digitally constructed realities.

Situated within a broader field of contemporary figurative and conceptual practices, the work operates at the intersection of these influences. Rather than aligning with a defined category, it reflects a hybrid visual language that responds to current questions around power, identity, representation, and the circulation of images.

Why is She who bites considered feminist art?

The work engages with themes of gender inequality, sexual violence, and the impact of rigid socio-economic and cultural structures within a male-dominated society. It challenges these systems and examines how power operates through them, particularly in relation to bodies and identities coded as feminine. Rather than offering fixed positions, the work invites critical reflection on how these dynamics persist and shape lived experience.

Does the artist identify as a feminist?

The artist advocates for equal rights and opportunities for all, including those who embody traits traditionally associated with femininity. In that sense, she can be considered a feminist.

Her practice engages with themes central to feminist discourse, including representation, agency, and structural inequality. At the same time, rather than positioning herself within a fixed label, her work functions as an open and evolving inquiry into these issues.

Does the artist hate men?

No. The artist does not hate men, nor does her work advocate harm against them. The elements in her work are symbolic and metaphorical. They are forms of artistic expression and should not be interpreted literally.

Her work critiques a system historically shaped by male-dominated power structures, that continues to privilege certain traits while marginalising others, often associated with femininity. The differences between individuals are far greater than the average differences between men and women. Yet much of our society is still built on these generalized assumptions, placing men in positions of power and others at a disadvantage.

She believes it is also the responsibility of men to become aware of these dynamics and to actively contribute to change, change that ultimately benefits everyone.

Why are female figures central to the work?

Female figures function as both subjects and carriers of meaning within the work. They are created to examine how femininity has been constructed, represented, and controlled within broader cultural and historical contexts.

What do ‘angels’ and ‘devils’ represent in the works of She who bites?

Throughout her work, She who bites portrays figures as angels or devils. These are not moral or religious symbols of good and evil, but represent an alternative perspective on human nature. Within this framework, individuals are not neutral at birth. Some are born as ‘angels,’ others as ‘devils.’

Devils are not evil. They are born carrying the weight, memory, and unresolved experiences of those who came before them. What they embody is not personal, but inherited; a deeply rooted awareness of life, existence, and the complexity of the world. This weight can manifest as sensitivity, intensity, or a sense of pain that is difficult to locate or explain.

Angels, in contrast, are born without this inherited burden. Their perspective is more open, less conditioned, allowing them to see possibility where none seems to exist, and to move through the world with fewer internal barriers. This can make them more free, but also more naïve.

Devils may be better prepared for the realities and challenges of life, while angels move with a lightness that resists its weight. Neither state is superior. Both are necessary. Together, they create balance, shaping how individuals experience vulnerability, power, and survival. This duality runs throughout the work of She who bites, not as judgment, but as a lens through which human behaviour, experiences, and existence can be understood.

Why does blood appear as a recurring element in the work?

Blood functions as a layered and symbolic element within the artist’s visual language. It can be read as a trace of impact, of contact, rupture, or transformation, rather than as a literal depiction of violence.

At the same time, blood carries strong cultural and physical associations. It relates to the body, to vulnerability and mortality, but also to creation and life. In this sense, it can evoke specifically gendered experiences, such as menstruation and childbirth.

Menstruation, in particular, has historically been framed as something impure, shameful, or to be concealed. The work resists this framing. It repositions blood not as something to hide, but as an inherent and generative force, an integral part of how life begins and continues.

Its presence also introduces tension. It unsettles idealised or harmonious representations, revealing what is often excluded or softened in dominant narratives. More broadly, it may resonate with the ongoing presence of violence and conflict in the world.

Rather than pointing to a single meaning, blood operates as an open signifier, inviting interpretation while holding multiple, sometimes contradictory associations at once.

Why does the work combine beauty and violence?

The work operates within the tension between attraction and discomfort. Visual elements associated with beauty, luxury, and desire are deliberately combined with references to violence, control, and power. This contrast reflects how these forces often coexist within contemporary culture, where aesthetics can obscure, soften, or even normalize underlying structures of aggression and dominance. Rather than resolving this tension, the work sustains it, allowing both to remain present simultaneously.

Why does the artist combine aesthetic beauty with challenging subject matter?

The artist intentionally employs aesthetic appeal, such as colour, composition, and detail, as an entry point. The hyperrealistic and surreal visual language, combined with elements of pop art, resonates particularly strongly with younger audiences. It feels both familiar and refreshing to a generation accustomed to digitally manipulated imagery and visual culture shaped by social media.

At the same time, this aesthetic approach introduces a sense of ambiguity, raising questions such as: is this glamorous or violent? Beautiful or monstrous? This visual accessibility invites engagement, after which more complex and layered themes gradually emerge. The resulting tension reflects how systems of power and inequality often operate beneath seemingly neutral or attractive surfaces.

The artist’s work is often interpreted as sexual or linked to sexuality. Is that intentional?

Is the work intended to provoke or shock?

Why is there such a high level of detail in the work?

The density of detail reflects the artist’s autistic mode of perception, in which experience is often layered, simultaneous, and less governed by hierarchy. The intricate visual language emerges intuitively from this way of seeing, rather than from a purely formal strategy. It results in compositions where information, structure, and detail coexist without clear prioritisation, creating a sense of intensity and perceptual depth.

What is the significance of detail in the work?

Detail is a fundamental component of the artist’s visual language. It encourages sustained attention and active viewing, allowing meaning to unfold gradually. Many elements operate symbolically, requiring close observation and interpretation.

To what extent is the work autobiographical?

While the artist’s lived experience informs her perspective, the work is not autobiographical in a literal sense. It operates on a conceptual level, addressing systemic and collective issues rather than individual narrative alone.

How are the works created?

The works begin as highly detailed digital compositions, built through the accumulation and precise placement of visual fragments. Using digital painting and drawing techniques, an almost flawless image is developed. The next stage encompasses the transfer to large-scale canvas (approximately 3×3 m), which shifts the process from control to disruption.

Because during transfer, imperfections and material interference occur. These are not corrected, but integrated through manual intervention, including painting. This transition from digital precision to physical disruption, is central to the work, reflecting themes of rupture, loss of control, and reconstruction.

Why is the transfer to canvas such an essential part of the process?

The transfer to canvas marks the point where digital perfection is intentionally broken. The sublimation process introduces unavoidable imperfections; distortions and surface damage that cannot be fully controlled. Rather than correcting them, these disruptions are embraced and developed further using oil paint. What begins as damage becomes an integral part of the work. This moment is central to She who bites: it reflects the loss of innocence and the emergence of resilience. The work only becomes complete once it has been altered, marked, and transformed through this process.

Where does the source material come from and how is it used?

The work is rooted in the collection and transformation of visual fragments drawn from the digital undercurrent of contemporary culture, including imagery, graphics, and references to widely circulated media and public figures.

Where possible, material is licensed or used with permission. In other cases, it is incorporated within a highly transformative artistic process in which context, meaning, and composition are fundamentally altered. Individual elements are never presented in isolation, but embedded within layered compositions that generate new narratives.

All material is used within the context of artistic expression. Rights holders with questions or concerns are invited to get in touch; all requests are reviewed with care.