Mary Sue is not a pure video product, but rather the fruit of a hybrid, artisanal practice, driven by the desire for a perfect, all-encompassing artifice. In fact, Mary Sue herself, and the artist who has adopted her name. She is a metonym for the contrivance of her video constructions. is consistently at the center of this process, at the warm convergence of high- or low-angle viewpoints, reflecting her relationship to the world and the steamy responses that she knowingly arouses through a theatrical naïveté. By definition, the viewer, indeed the whole world, is outside the frame. Her solitude in the face of the world is that of all domestic stars: she has little adventures, accomplishes small feats, and experiences tiny moments of illumination. Whatever the scenario, Mary Sue always seems to be pulling your leg, then hitting you below the belt. By placing herself in the spotlight, she eliminates the ambiguity of the distanced gaze, becoming the object of her own irony. Her perspective is more acerbic than critical. Rather than condemning things, she merely holds them up to view. Mary Sue’s work is fresh and ironic, a game within the game.