06/08/2026
What new kinds of identities do these electronic images open up for us, or impose upon us—and particularly upon women? How do we see, think, and act in the video age?
Working in New York City’s vibrant Soho arts scene, Jonas performed as the character Organic Honey, an exaggerated avatar of femininity whose masked face was frozen in a coy and somewhat sinister smirk. “Organic Honey’s Visual Telepathy evolved as I found myself continually investigating my own image on the monitor of my video machine,” said Jonas.
As she looked, she saw herself transformed into “an erotic electronic seductress” who conjured phantasmagoric scenes with her ritualistic manipulations of feathers, dolls, and mirrors.
Reflecting surfaces would be a key motif throughout the artist’s career. In her influential Mirror Piece works (which she began in 1969), performers carried mirrors that faced the audience, who suddenly found themselves confronted with their own image—a reversal of the typical relation between onlooker and artist. For Jonas, the mirrored image does more than simply reflect: it projects out into the world and changes it.
In her video Volcano Saga (1989), Jonas worked with actor Tilda Swinton to retell a traditional Icelandic tale about the character Gudrun and her adventures. It would be the first in a series of pieces focused on female characters in history and myth. In works like these, Jonas becomes a modern-day bard, using video effects to infuse old stories with a contemporary form of sorcery—thereby showing technology itself as a kind of magic.
Double Lunar Dogs, courtesy of Electronic Arts Intermix (EAI), New York
Info retrieved from moma.org
second photo at Drawing center (2024) Tsipi Inberg, Ben-Haim
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