In the text drawing I enlarge the fine print and add some of my own to question the selectivity and politics of the information that is shared about what we consume.
Missing Ground, 2014 4 looped animations, black and white, no sound; less than 1 minute each
In Missing Ground I loop animations of farmers' gestures. I use animation, tracing, and repetition to create a sense of boredom and slow progress, embracing an idea of spirituality and one's connection to purpose and the surrounding environment, beyond efficiency.
WU2Bh, 2013 screen print on newsprint
IU2Bh, 2013 video, color, no sound; 5 minutes
I used to be human is an animated video essay of a person trapped behind a screen in the information age, with nothing material to connect to besides memories of a past, distant lifestyle.
Destructive Walking, 2013 animation, color, no sound; 14 seconds animation, color, no sound; 1 minute
The following animations are made by a process of erased repetitions that gradually destroy the material they live on.
Subjectively Disintegrating, 2013 video, color, no sound; 12 minutes
The drawn mark over a dissolving landscape suggests the subjectivity of information, emphasizing particular objects within a wider destruction. The ambiguity of scale keeps the focus on the movement and gesture rather than any specificity of space.
Unearthed, 2013 dry wall
Unearthed was a piece exploring the idea of artifacts, the history of language and communication, and the remnants of civilizations. By carving computer-language into plaster I question what we, as a generation, will leave behind, the accessibility of this communication, and the anachronistic impossibility of digital code existing on geological material: our migration from a material world to a displaced digital world.
QR-Cyborg, 2013 acrylic on paper
With QR-Cyborg I play with the formality of utilitarian information coding. I encoded a quote from Donna Haraway's The Cyborg Manifesto. It reads "the relation between organism and machine has been a border war," questioning the tools we use to access information, and the hidden dimensions and language of computers. As the independent material pixels fall off I test the readability of the code and the encoded error-correction feature, questioning the border of information access between man, material and machine.
quasi-RGB, 2013 acrylic on rice paper
The variation of tone that happens because of the artist's hand, the materiality of paint, and light passing through rice paper is something I seek when finding myself ubiquitously surrounded by computer code, and the ideal of fast perfection that is expected in our daily lives since our reliance on digital machines.
Transient Plans - Hierarchical Mess
Transient Plans, 2012 post-it paper, black ink
Hierarchical Mess, 2012 post-it paper, black ink
My unfulfilling obsession with sticky notes, to-do lists and daily plans led me to embrace the disorder that is present in everyday life. The disorder that comes from gravity, time, the material's physicality, and the imprecision of my own human hand.