In her "Laugh of the Medusa", feminist writer Hélène Cixous states: “Woman must write herself: must write about women and bring women to writing, from which they have been driven away as violently as from their bodies – for the same reasons, by the same law, with the same fatal goal. Woman must put herself into the text – as into the world and into history – by her own movement.” Cixous also made known the term “white ink”: “… A woman is never far from "mother" (I mean outside her role functions: the "mother" as non-name and as source of goods). There is always within her at least a little of that good mother's milk. She writes in white ink.”
In her "Second Sex", Simone de Beauvoir indicates that the woman, under the male-dominated constructions of hegemony and culture, is the “Other.” The woman is an “eternal other.” The self-referential consciousness of the subject of existential theory must have this other in order to measure itself against it, as this other is both familiar enough and far removed enough from it so as to enable its own definition.
The series White Ink was created from the processes that govern the ever-changing nature of the status of women. I observed, with a feminine gaze, (The “second sex” is now the observing subject), looking away from the feminist discourse, upon my colleagues, which served as the inspiration, trying to decipher male's emotional and mental patterns. I created white "papier-mâché" figures, which through particularly lighting, focusing and angels chosen to photograph, I brought out many layers of these characters. The outcome has a rigid and rugged look. To my perception the white is “pure” enough to hold all shades of “grey,” all the emotional intricacies of everyday life.