An underground artist known for her few public works like Surviving Salvation, and Preenactment of the Woman as Sphinx #19, Mala Dorore was the first of a growing number of contemporary artists to grapple with the concerns of B-Ville 2049.
Like them, she's been preoccupied with silence, time, and the flesh since her student days. Her discovery of the future art of Geneviève de Parnier propelled her to an artistic breakthrough manifested most clearly in her Preenactment series, in which she identified empty niches in Paris and other global cities, and attempted to fill them with her preinterpretations of de Parnier's classic work, Portrait de femme en sphinx.
She explores as well the relationship between performer and audience, first attempting to sever the ties by inviting only a handful of intimates to see her work. Of late, she's chosen to exclude them entirely, performing alone, and occasionally exhibiting documentation of the result.
Even there, she frustrates the audience, keeping the eye of the witnessing camera at such a distance it is impossible to see more than a small figure dwarfed by monumental space.