PORTFOLIO 2022
Rocks scans #1-15 (2022)
3D models created with EinScan Pro and Artec Space Spider 3D scanners
Rock flatlays #1-15 (2022)
Texture jpgs
We often understand digital media to be immaterial, but the digital world remains indebted to the industrial ecosystem which extracts and consumes material resources from the earth. The rocks and minerals underneath our feet were forcefully metamorphosed into the techno-patriarchal world we live in today. For this reason, my interest turns to ordinary rocks as a mediating entity in complicating the divide between the real and the virtual.
Rock Vessel #1 (2022)
Digital rendering
7.5” x 4.2” x 5.9”
Rock Vessel #2 (2022)
Digital rendering
6.4” x 3.7” x 5.4”
Rock Vessel #3 (2022)
Digital rendering
5.6” x 4.3” x 4.9”
To render rocks as virtual entities, I have used 3D scanning technology which maps a digital surface from the physical form. This process essentially removes the solid material and generates an empty vessel wrapped in information. My next endeavor will make this quality of 3D modeling evident by creating functional vessels from the rocks I have collected and scanned in my studio practice. I am giving these forms new material functions and aesthetic qualities that could only be achieved through digital intervention.
Eternally meeting myself (2022)
3D model, video, generative sound.
This work is about the way we encounter ourselves and our bodies in the digital landscape. Both the 3d-model and the image constitute an instance of physical existence in the world, captured and replicated by a digital mechanism, forever stored by a machine. This video imagines the surreal place these instances go and how they embody a metaphysical sense of self.
The live audio is generated with poly synthesizers in Max/MSP. The audio-interactive effects on the 3D model are created in Jitter.
Digital decay (2022)
Polaroid photographs, generative sound.
Contemplating the deterioration of memory, this recorded video and audio mixing performance blends a collection of double exposure Polaroid photographs using jitter matrix operations. The result is a stunning digital decay as the visual elements devour detail and spread into each other. The sound is generated using waveform synthesis in reaction to color changes in the video matrix.
oblivion (your_off-facebook_activity) (2021)
laser-engraved canvas, thread, 3 video channels and sound
85” x 135”
This textile was made with 88 pieces of canvas, 41 hours of laser engraving, 10 hours of sewing, and two years of my internet browsing history as collected by Facebook. My “off-facebook activity” includes timestamped page views and purchase history from every website and app I visited from approximately September 2019 to September 2021.
We often hear that social media companies, armed with this type of personal information, can know us better than we know ourselves, but when I looked through this data I felt that my identity was completely absent. I saw quilting as a way to interface with this data using my body, thereby emphasizing its materiality and fostering intimacy and self-knowledge.
oblivion documentation (9min 35sec)
This exercise served as a meditation on the labor, both human and machine, that goes into the creation of online personhood and digital identities. While online platforms belie the harvesting of data behind user interfaces, this work invites viewers to participate in close reading of another’s personal information. The computer-native .json format is juxtaposed with a large-scale reconstruction of these patterns on canvas. The aim is to shift power away from algorithmic systems of content curation and targeted advertising towards an assertion that individuals are more than the sum of their data.