This piece is inspired by the Baroque frame—overflowing with décor—and a reaction to the idea that, “The frame is … nothing in itself, but rather only exists in relation to what it frames…,” as such it suggests a by-product that is hardly noticed. A painting's frame is categorically left out in art history books. I wouldn't remember what the frame of the Mona Lisa looked like for that matter. I thus wanted to make "the frame as the picture" in and of itself. During the course of an exhibition these frames will begin to sag, droop, and slowly melt according to gravitational force and heat sources.
Digital, interactive projection, real-time processing, 12 ft x 80 ft, 2015.
Displayed on the digital façade of the Jackman Goldwasser Catwalk Gallery at the Hyde Park Art Center of Chicago, this digital wallpaper was transformed on a daily basis over the course of three months based on its response to weather data from Kabul, Afghanistan. Composed of opium poppies, the interactive surface altered its pattern from initial pristine symmetry into slowly cascading chaotic disarray.
Non-fixed rug composed of toxic leaves. Gold dust and glitter, 90in x 61 in, 2014.
LED light panels, 35 in x 70 in and 20 x 30 in.
Iris wallpaper, size varies.
Black dust/glitter, gold dust/glitter, 72 in x 115 in, 2014.
Soil, Magnetite, pigments, 6 ft x 18 ft, 2013.
This pattern is based on a lace design: Lace embodies the dual quality of strength and fragility along with its time-consuming, elaborate process of making. Lace also doesn't unravel when it's cut and it therefore embodies an object that holds itself together despite of its fragility.
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Magnetite mineral, ashes, 12 ft x 18 ft, 2013.
The title refers to the longitudinal and latitudinal coordinates of the gallery in which the rug is installed.
Magnetite mineral, 13 ft x 13 ft, 2013.
29.400 glass-head pins, mixed media, 11 in x 11 in x 4 in, 2014.
According to records from 1895, the symbol 30 used to indicate the last sheet—or line of copy—of a dispatch as a printer's and telegrapher's code .In similar fashion, in 20th century journalism , 30 came to be a traditional sign-off signal and slang word for "the end." (source: Online Etymology Dictionary)
Interactive, decomposing, virtual wallpaper projection in real- time, 2011/2.
The viewer’s presence is registered via sensors that cause the wallpaper to decay. As such, the audience becomes a hazard to the artwork causing the initially pristine symmetry to cascade into complete disarray.
UV-light installation. Floral prints on photographic paper, 90 in x 44 in.