“Dangerous Dakini: Monet Clark’s Bunny Girl and other precarious performance videos” Afterimage vol. 44 #4 (February 2017) an important voice in media arts for over 40 years, by Jillian St. Jacques

“…Clark’s healing rituals stand in a class of their own…”

“[Cross Voyeusim is] a feminist counterattack.”

“Performance art often cultivates risk to draw its audience into the collective empathy/concern for the precarious position of its maker
and in this regard Bunny Girl is no exception.”

“In the performance/video DAKINI (2011)…her ritualistic gestures place her in a place of vulnerability once more….because she is dealing in spirituality, that most conflicted of stances, regarded with skepticism in artistic and intellectual circles…As I have argued, an aesthetic of risk runs high throughout Clark’s oeuvre, and, when combined with acts of spiritualism, her pieces become a sort of spiritual wager, acts of faith that testify to the potential  of unverifiable powers to alter or shift our rational, visible, material order….”

“…some of her most riveting early works…Poisoning/Phoenix features the artist as our gentle guide into the world of the abject discourse.”

“…there is more to Bunny Girl’s story than a surreal character in an arbitrary landscape… [with] the flanking element of danger implicit in every frame…namely, her relationship to the dystopic events in the found footage… The more I look at Bunny Girl the more I am struck by the character’s resilience. She may look vulnerable…but I realize Bunny Girl is stronger than me… Bunny Girl and I stand in discourse [at] the turnstile of abjection where the disavowed Other, who has been positioned as somehow lesser, weaker, repellant, rotates the gaze of the Otherizer back on itself, insinuating through its enigmatic return glance that the objectifier is, in fact, in danger of being alienated by the cultural symbolic.”
“There is something heroic about Bunny Girl [and] …something that reminds me of the lady in the radiator in David Lynch’s Eraserhead.”