LENS: A shape formed with the intersection of two circular disks.
A circle is symbolic of many things; unity, inclusiveness, wholesomeness and perfection. There is no clear beginning or end.
The human eye seeks symmetry, and when there is none, it look for balance.
‘LENS’ is a mini series of abstract, minimal and repetitive compositions exploring infirmity and contingency.
Each piece’s title references the theme of the work, derived from geometry, design and art theory.
Various combinations of materials, palette and technique render the subtle qualities and different traits.
Moore’s Law (suspended)
Low fire ceramic, braided filament 11 ft x 16 ft x 8 ft
Post Silicon (floor)
Low fire ceramic, oxides, steel trash cans 37 in x 70 in x 28 in
Accelerating Returns addresses the consumer’s role in the ever-increasing speed of technological development and critiques humanity’s desire for, and dependency on, technology.. Consumer demand is both driving and responding to the rapid release of high-tech products.
In 1965, Gordon Moore, co-founder of Intel, demonstrated that technology grows at an exponential rather than linear rate. Moore’s forecast is that technology will reach a level of sophistication at which it will self-update and advance at an incomprehensible rate. Corresponding to the rate of technological growth, for the millennial gen- eration, the perception of time between newly released and obsolete has shortened drastically. Relatively young programs and devices are rapidly dated to the point of evoking nostalgia.
The arrangement of suspended devices in Moore’s Law is based on the graph Moore constructed to illustrate the drastic rise in the number of transistors in integrated circuits over the past forty years. Post Silicon depicts the same objects in a future that is warped or distorted, where we view them as being severely outdated and older than they actually are.
Though influenced by data visualization artists and new media, this work is constructed in traditional sculpture materials. Employing a primal material and low-tech methods to replicate contemporary technological items and ideas creates an ironic duality.
Series of functional ceramics works that resemble industrial and rustic machinery or pieces. Washed stains and oxides create the rustic look, reductive atmospheres in the firing bring this out even further.
Millennial : Mediated Self Portrait
Low fire ceramic, video imagery
“Millennial” is an autobiographical work. Growing up as a millennial, or digital native, technologies have played a major role in my growth and development as a human being, possibly influencing my character traits and tendencies later in life. This series further explores the relationship between humans and our technologies. Inspiration has been drawn from contemporary artists such as Megumi Naitoh, whose work analyzes technology’s control over human life, depicting the human figure trapped within the computer, trying to escape.
The installation consists of objects that I used either as toys or tools during childhood, reproduced by casting them in clay. The other component is a frame blending video including a timeline of photos of myself, morphed together using generated pixel motion. The images of myself grow more distorted and lose color as I become older, suggesting the continuous impact these pieces of technology might have had. Though the cast objects take on the exact form of the originals, they are sterile, absent of color or personality, and serve as a blank canvas or ground. When digital imagery is projected onto this canvas, perspective is altered and skewed as the imagery conforms to the topography of the suspended objects.
Juxtaposing the old and new is an important aspect of this work. The objects are rendered in clay, an ancient material, and are combined with video imagery, a contemporary medium. The aesthetics choices made are influenced by my training as a graphic designer, and an attempt to merge graphic knowledge with sculpture—the two-dimensional illusion of the image with the physical reality of the three-dimensional. Inspired by work such as Eugene Hon’s “And the Ship Sails On,” where his passion for drawing informs his ceramic installations.
Depending on the viewer's age, the objects evoke a range of reactions and connections. An older generation may still see them as groundbreaking, a millennial may see them as nostalgic, and an adolescent may see them simply as old and outdated. These different reactions illustrate the existing generation gaps, and suggest the exponential growth possibilities of technology.
The intention for this piece is to ask the viewer to examine the line that is
becoming continuously more blurry between man and machine. Navigation, communication, organization and entertainment are examples of everyday tasks that seemingly now require a form of technology. More specifically, cell phones, are the replacement of human imagination when boredom or a dull moment strikes, hindering our capability to actively think alone.
By choosing to make a mosaic out of cell phones, a juxtaposition is created between the historical tradition of mosaics, and the modernity of technology. Mosaics were made in the past to depict human activity in everyday life, I wanted my imagery to serve more as a reflection of who we are and how we function in everyday life.The materials traditionally used for mosaics ranged anywhere from glass pieces to marble, the Byzantines would even paint gold leaf onto their glass pieces, treating each piece as an item of high value. By using cell phones as the tessera, or the material used for each tile, I am commenting on the materials of today, as well as objects that we value, by relating them back to the gold leaf and marble used in the past.
This series’ purpose is to explore the relationship that we have with not only our cell phones, but our technology as a whole, as well as bring to light the transformation from amenity to necessity that our technology has undergone.
Installation; steel, ceramic, cedar, nylon and video.