Cityscapes have played a major part in her work, and she is now working with a group of artists, builders, architects and engineers to help build homes and community spaces in Haiti.
"Urban Omnibus: Let's start with the city street and the relationship between the conditions of inspiration, production and display. What is the difference to you between creating for a canvas versus for a city wall? Does the distinction change the audience, the message, or both?
Swoon: Almost the only difference for me in creating for a protected indoor setting versus creating for outside is a practical one. Things have to be smaller and faster to put up outside, more streamlined in their design. If I am cutting paper to create a portrait, and I find myself making really large cuts, I know it's going to be a lot harder to paste up quickly. Or, if I am making something huge, I know that it will have trouble finding itself within the small architectural niches of a more dense urban area. Because my way of working and creating portraits evolved entirely in dialogue with city walls, these practical considerations, as well as thoughts about how people relate to the portraits when they see them on the street, are a big part of forming what you see, whether I am making a gallery installation, or working on the street. The creative process is very quiet compared to the execution and the life of the piece. And the conditions of inspiration? That's just day to day."