Pyramid of Vision

spatial installation

Advisor :: Mona Mahall

Pyramids exhibition in Dark Rooms Studio

Sibley Hall in Ithaca, NY in Fall 2016

______________________________

 

Contribution to the Pyramids Exhibition in September 2016 in Ithaca, NY, which examines the pyramid as an object of desire, a monument of history and an architectural form for re-interpretation. The site-specific installation (10 x 6 ft room) conceptually and visually inverts the Renaissance diagram [1] by creating a spatial interpretation of a flat image. The installation operates as a visual device, inviting spectators to immerse themselves into an alternative dark space.

1/3

Wiki-Leaks Ruin

digital painting and installation

Advisor :: Mona Mahall

Server Rooms exhibition in Dark Rooms Studio

Sibley Hall in Ithaca, NY in Fall 2016

______________________________

Contribution to the Server Rooms Exhibition in October 2016 that speculates on how technology and the Internet influences the discourse of architecture. What happens when these technologies become obsolete? The “painting” is a dystopic projection into a post-technology future where the Internet and server room typology falls into ruin. Specifically, the image envisions the Wiki-Leaks headquarters in Stockholm as the object of decay.

 

As architecture devolves over time, it becomes aestheticized and generates mythical re-interpretations. While the architectural ruin becomes an romanticized symbol of the past, this painting illustrates a dystopic, projected future.

1/5

Cartographic Bodies

drawing series and monograph

Frederic Conger Wood Summer Research Fellowship

MONOGRAPH exhibition

Hartell Gallery in Ithaca, NY in Fall 2016

______________________________

Cartographic Bodies is a compilation of a year-long drawing series created during summers in New York and Paris. Sketchbooks, notes, ink drawings and other visual artifacts are integrated into the narrative of inhabiting a city. It began as a single line—pen on paper—tracing daily walks. The drawings were a means of situating myself in the monumental city, against its perpetual spectacle, noise and distraction.

 

As I filled up notebooks with these notations, speculations about (other) bodies in urban space and their representations began to emerge. How does memory transfigure one’s perception of a place? How does identity alter these experiences?

 

In the spirit of Situationist and Surrealist modes of navigating and collaging cities, the drawings expanded in size and complexity. They became part of an everyday ritual of drawing and mapping out itineraries of superimposed time and place.