My journey with grief, with learning how to grow through it, rather than get over it, will be a lifelong one.
It’s so difficult as a female artist to make actual money, in my experience.
For me, ‘Jewishness’ manifests within my humor, slang, cynicism, culinary tastes, and the spirit of generosity ingrained in me.
The process of learning how to defend my body, how to own my space and take away space from other people, and getting me in touch with my masculine, testosterone-heavy side, from a personal development standpoint, it was really helpful to me – as well as releasing aggression and frustration.
I have been drawn to India since I was a kid.
It was super-important to me that I would be able to make work out of my home.
I knew I wouldn’t be able to afford to rent a studio as well as get a home that I was excited about. So I was like, if I can do both in one, I can just about make it work.
I thought having to explain the risibility of gender codes would be mostly behind us by now.
I don’t think that you have to always present as angry, masculine, aggressive to be a feminist.
I grew up in a feminist household in Hackney, East London, my mum was responsible in many ways for the feminist stain on the socialist party, and my dad had really strong feminist leanings.
I’m atypical in my personal life, my situation is not that of the average struggling artist, and so I feel like I have to work even harder to prove myself and let the work speak for itself. At the same time, I’m not prepared to hide who I truly am.
I don’t like putting the female form behind glass or on a wall, further objectifying it as much as art does.
I attended the Women’s March on Washington with a group of artists, curators, and art-world professionals.
Becoming a mother really put me in touch with not just my mortality but also my baby’s mortality. You spent nine months working on this thing, and it’s finally there, and the first thing you think about is, ‘I don’t want my child to die.’
As artists we need to stop making work only for gallery or museum walls, or the coffee tables of collectors.
Caring for someone who is terminally ill is traumatic, but it’s a privilege too. It’s part of being a woman.
My art should have a lightness and sweetness. Especially since it has heavy and triggering subject matters, I prefer to present it in a way that’s palatable and draws people in.
My mum, Jennie Buckman, was a north London Jew who, with my dad, proudly chose to raise me and my two brothers in Hackney.
I’m hoping to raise a little consciousness and shine some light on the idea of responsibility.
For me, boxing was a way of me exercising my frustration, anger, sense of injustice, but also a way of owning my space and taking up space. Which I think as a woman in the art world is essential for surviving. You have to become comfortable going like, ‘OK, I’m going to take this wall, this wall is mine, I’m going to put my work on this wall.’
There’s a real lack of basic understanding of the female body and the reproductive system.
One thing to remember is that human beings connect through vulnerability. That’s our core way of connecting.
I’m a Brit, so I come from a country where in the run-up to a general election, no one talks about abortion.
I’m someone who lives with the work of artists I’ve been lucky enough to know or trade with.
I was obsessed with American hip-hop as a teenager.
I cook a lot more now that my studio is in my home.
People will email me and text me if they’ve found an amazing loo. I’m like, ‘How was the food?’ They’ll say, ‘Fine, but you have to check out the loo.’
Boxing was really cathartic for me.
I want to reduce the stigma of the word ‘feminism.’ It’s not about eliminating and excluding. You can be yourself and still be a feminist.
When I became older and started to become more in tune with my political leanings, there was a disconnect between the feminist in me and the hip hop side of me, and I don’t know if, in some way, those influences are also present in Tupac’s work.