Use of Interviews in My Work

I began interviewing people as part of my art practice in 2008 when I went to Moyale (Kenya-Ethiopian border) to document the results of an awareness-raising campaign organised by Comitato Collaborazione Medica as to the medical, psychological and psychosocial consequences of female genital mutilation.

Since then, it has become an evermore integral part of my work that has led me to research the practice of oral history and how other artists (such as Tomie Arai, Jackie Brookner, Graeme Miller and Alison Marchant) have used oral history interviews as the source for their artwork. (Please see my May Research Paper)

Jackie Brookner, Of Earth and Cotton, 1994

Ethical concerns are a priority to me and I always seek to follow these basic principles:

• consent forms are always signed after the interview (never before as is television practice) so that the interviewee can evaluate what they have said and has the right to change their mind
• consent forms allow the interviewee to clarify specific situations in which the material may or may not be used as well as options to remain anonymous
• the interviewee maintains the right to withdraw consent at any point and to approve the original recording and any editing I make
• if I have any doubts as to whether or not the interviewee would feel comfortable with how I am using their material, I seek their specific approval or do not use it
• I never interrupt an interviewee during an interview or attempt to deliberately direct their speaking onto a different course
• I avoid expressing any judgements during an interview regardless of whether I agree or disagree with the interviewee. This is important so that the interviewee feels able to express their true opinion and thoughts and is not influenced by what they think I want to hear
• for the reasons above, I try to ask as few questions as possible and avoid leading questions

Dealing with audio material that is in a language that is foreign to the exhibition’s visitors:

• Problems: a written translation disrupts the effect of listening to an audio within the piece; dubbing removes the energy and presence of the interviewee by substituing their voice with another.
• I am pleased with the solution I have found in ‘If Only..’ because it allows an English language translation to be present in an audio form while maintaining the original recording in Spanish.
• In order to create the voice-overs I worked with both professional and non-professional actors. I liked the Pasolinian idea of the rawness and authenticity of untrained people.