forgetting Godot

we were happy, forgetful children, playing out film fantasies;
sometimes affording the luxury of contemplation

2000 – 2007 – In this series of large paintings, Juno confirms an acceptance of the absence of answers, a ‘post-nihilistic’ celebration of life as is, through sensual experiences of everyday life situations. In a time of information overload, conflicts, idealistic emptiness and consumer terrorism, it seems that the only way out is through; appreciating in between the little we have left of our own as human beings, and the relevance of what appears to be simple and mundane. Like the day before the catastrophe, observing the innocence of every day.
The paintings in this project are based on random snapshot photographs, taken either by her or her friends in informal situations, and are mostly of herself, her boyfriend, spaces they occupy, and other familiar people.
The painting method has a hyperrealist tone, detaching the reality of those situations with a representation of that reality, inviting the viewers to compare and question what they see with what is common to them. It is also, for Juno, an attempt to find redemption from the previous intensive use of photography, seeking to establish a more intimate physical relationship with the construction of each piece of work.
The combination of the painting process and the subject matter bring the situations portrayed into a level of simulation, yet more defining of the real than reality itself. The size of the works, most of them 6 ft x 4, also reflects the enlargement of a commonly sized snapshot photograph.
The video piece home made jelly, and Visual Diaries, comprising of images and text, have been produced within the same spirit of the paintings.