Keren Moscovitch uses photography, video and collborative practice to explore issues of intimacy and relationships. She lives and works in New York City where she teaches at the School of Visual Arts. Her monograph Me Into You was published in the summer of 2012, featuring 35 images and an essay by photographer Allen Frame. She is obsessed with people’s secrets, especially the ones that take place in the bedroom.
WHAT INSPIRES YOU? AND WHAT RESEARCH GOES INTO A PROJECT PROIR TO SHOOTING?
I make work that helps me grapple with issues in my own life, such as the death of a loved one, the passage of time, a new relationship paradigm or a spiritual adventure. Right now, I’m looking deeply at relationships and intimacy and am inspired by the people around me and how they engage those experiences on their own personal paths. I’ve been fortunate to be invited into people’s homes and develop really close personal relationships in which I get to share their intimate space, so I draw directly from these narratives and the voices of the people I meet along the way. I attempt to transform these experiences into visual poetry with inspiration for the underlying energy of the work coming from everywhere – a corn field, a painting, a song, anything that moves me.
WHAT IS THE MOST IMPORTANT ASPECT OF YOUR ARTWORK – WHAT ARE YOU TRYING TO ACHIEVE?
At the moment, the most important aspects are intimacy, collaboration and metaphor. My recent body of work, Me Into You, depicted very directly what was happening in the bedroom with lovers and friends. However, it was important to me not to show too much information, where the work would become too documentary in scope. I wanted to leave space for viewers to interpret what they were seeing from the point of view of sensation and emotion, rather than direct storytelling. In my new projects, I’m continuing to move in that direction, engaging an ambiguity around narrative while getting very specific with the emotions. My hope is that the work will transcend beyond the story to something more universal and spiritual.
WHAT SORT OF PERCEPTION DO YOU THINK PEOPLE HAVE OF YOUR WORK?
I think people are both intrigued and somewhat confronted by my work. I try to share moments and ideas that I feel others will identify with, but sometimes that approach makes people uncomfortable due to societal ideas about privacy and propriety. I find that people connect to the work in a curious and vulnerable way.
WHAT ARE YOU WORKING ON AT THE MOMENT?
I have two projects I’m working on right now. One is a video about a couple in their sixties who have found love and sensuality in some surprising ways. I find that their intimate life mirrors a personal journey of transformation and discovery. The other is a collaboration with a Brazilian artist based on a 39 day e-mail correspondence between us in which we sent each other daily dispatches of text, images, audio and video. Both bodies of work deconstruct relationships and intimacy in an attempt to understand the scope of human connection.