In my studio I have been wrestling with problematic issues of the female gaze and desire, attempting to describe the active female subject. In creating my installation Living with Liberation I held fast to the feminist catch phrase - the personal is the political - and took on the personae of the 1970s 'liberated woman'. I combined sculptures that referred to work made by feminist artists of the 70s with a retro living environment created by drawing on my own domestic experiences. In this work I invited the viewer to muse upon the physical manifestations of her/my personality and, hopefully, to identify with us on some level. I feel it is in the act of identification that the art object is politicized.            The activity that lead to my installation was a rehearsal for the filming of my recent videos, Our Bodies, Ourselves and Tale of Narcissus where I act out similar roles but in a more literal way. I have set the words of the popular television series Sex and The City into the mouths of 1970s feminists, all of whom are played by myself. This work brings my investigation of the history of feminist art into a dialogue with the contemporary representation of women.            The protagonist in my first video is sewing a Judy Chicago- like vaginal quilt while bemoaning the fact that she accidentally farted in front of her new boyfriend, an odd combination. The quilt functions in many ways; it references a specific kind of 70s feminist production but also points to my own previous soft-sculpture. Additionally, the fact that she is "keeping her hands busy" on a giant vulva is an overt metaphor for female masturbation.            In the second video, Tale of Narcissus, Samantha has nude photographs taken in which she poses with chewing-gum vulvas on her body, a gesture mimicking that of the artist, Hannah Wilke. The dialogue of the piece (and the SATC episode) surrounding Samantha's desire to have these photographs made is similar to the discourse that surrounded Wilke’s work - it is rife with accusations of narcissism. The reaction elicited by the up-front and provocative photographs is one of shock and criticism which strikingly mirrors the response of Hannah Wilke's contemporaries to her work.            In many ways the videos provide a justification for the making of the vaginal quilts and the nude self-portraits which I would not otherwise have made without embarrassment and ambivalence. Through the filming of these projects I have allowed myself to explore a personal identification with the 70s feminists, and the contemporary women of Sex and The City.