Being born in a town sometimes hinders both personal and professional progress, what has it meant for you and in what ways has the environment and context in which you were born influenced you?

Having been born in a town, for me it has been very hard, but I don't think it was just that, if not for what I had to live there since I was a child until I left at 17 years old. It was a complete hell, but it has taken me to many accomplishments that I would not have if I had not spent my childhood and adolescence there. When I go to visit my family, I spend days alone in the field and in my house and my bad memories make me have the best ideas, that's why I’m kind of thankful to that traumatic introspection that creates very interesting things.



Do you think your career would have been the same without this background?

My family is very humble, I am the daughter of a farmer and a housewife, they could not even study. Philosophy books and cinema appeared in my house through me, there is a very postwar feeling, which has made me dive on issues that I thought were far from my culture but in reality are very close. I grew up among stories of human misery, destroyed landscapes and people of eccentric personalities with many mental problems due to the fact of misunderstanding.

Harmony Korine's Gummo defines really well what happens in my town, (what I have lived), also the Klip Serbia movie transports me to my teenage years along with Six Acts, also from the same country.

My obsession with marginality, the adolescents of unstructured families who resort to vandalism or drugs, have been my experiences of the place where I grew up, stories of wars and deaths, inheritances and generations of young people without resources that are often killed on high speed motorcycles.




Your project has a powerful aesthetic but beyond that, it turns out to be representative of our generation, what aspects of your project would you highlight as a result of your circumstances?

I identify with several generations because time does not exist and everything is always repeated cyclically.

Marginality, the descending adolescents of unstructured families who resort to vandalism or drugs, have been my experiences of the place where I grew up, stories of  and deaths, inheritances and generations of young people without resources who kill themselves on high-speed motorcycles.


It is difficult to be able to make progress with creative projects in this country, do you think it influences you to belong to the “lost generation” when creating? Is failure important in the creative world?

I think it is difficult to progress without resources, regardless of the country you are in, of course I am influenced by the "lost generation", everything that happens around me influences me, I am very empathetic, I have felt lost since I came into the world, the human planet is a hostile place, where realities are distorted.

The failure with that descent to hell, makes you overcome, sometimes you get tired and do not want to continue, but it seems that some light pushes you up and wants you to continue fighting, I wanted to leave it a thousand times, but I always keep trying to climb up.



What do you think should change so that the creation of art is more recognized and better valued?

I think that cronyism should change, that it should work less by contacts and more because the project is interesting and the work contributes something. Sometimes I see that people support someone for who they are and not for what they do and that is horrible because you see a lot more of mediocrity and little authenticity.


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Mark LOREM IPSUM