Joan watches her parents from an upstairs bedroom. Stephen is a lover who lives inside my video camera. I'm a voyeur, but I've always wanted to be an exhibitionist.
"Ghost Dances reminds us of Freud’s statement that when two people sleep together there are already (at least) six people in the bed. In Montreal artist Monique Moumblow’s work, the imaginary aspects of sexual relationships and the lingering family romance appear both in the conscious fictions she creates and under the surface in her biographical sources. In her 1996 video tape Joan and Stephen, the imaginary dimension of sexual relationships is activated by the invention of Moumblow’s imaginary boyfriend. In previous performance and video work Moumblow had developed a complex love/hate relationship with a fictional alter ego named Anne Russell through works such as the video Liabilities. Liabilities is structured as a series of letters between Anne Russell and Monique. Anne was the name her mother had wanted to give Monique when she was born. Her father prevailed in naming her after a character in a French film. In Joan and Stephen she self-consciously invents her imaginary lover Stephen in a gesture that, like Acconci in Theme Song, both acknowledges and denies the impossibility of the action."
CLARK, David. "The Ghost of an Exquisite Corpse", Lux: A Decade of Artists' Film and Video, YYZ Books, [http://www.moniquemoumblow.com/] (Consulted on december 4th 2009)