Since 2000 I have researched the role and structure of narrative as mediated through technology. The nature of narrative, of stories, is duplicitous; there is a reciprocal contamination between history and fiction.

Within historiography, the Holocaust becomes a critical problem for discussions about truth and fiction. Traditional historians view the events between 1933 and 1945 as a fixed reference for the assessment of all theories in the face of the uncertainty of postmodernism. If all history is “relative” then this relativism provides no objective criteria by which fascist or racist views can be countered. Postmodern historians and theorists believe that history and theory (or fiction) should be viewed as adaptable, where one informs the other.

For me — as for many artists — storytelling is a way to keep history alive in the present, a way to speak to history. The slippage that occurs as a story is told and retold, changing from teller to listener to teller, creates a subjective dimension for history. My point is not narrative closure; the teller and tale are linked through the act of storytelling and both are adaptive and are changed, allowing for multiple linking tales. This interest in the play of narrative is central to my work.