There is a wealth of information in our world today. This surplus is thanks to the everyday technology we use to enrich our lives. With a few taps on your smartphone or clicks on your computer keyboard, we are presented scientific advancements, athletic milestones, political developments, and dinner recipes, instantaneously, and from multiple sources around the world. In one sense, technology collapses time and space in order to deliver information to us. But, what purpose does this serve exactly? I am interested in using this abundance of information as a medium to depict the human experience and the systems that implicitly guide that experience.
Laser engraved cover visualizing word occurrences in The Satyricon
︎ Lost Treasures Found, 2019
After a career in the coliseum Encolpius works toward an academic degree. Outside of class he yearns for the affection of his boyfriend Giton, the validation of his professor Agamemnon, and the collapse of his once friend and now arch rival Ascyltus. Encolpius, however, is time and again met with failure. His endeavors unravel throughout The Satyricon, written by Petronius in the late first century, in the most bizarre and hilarious ways. Traces of Encolpius’ trials can be seen today in the incredulous stories shared over social media. The reception of these stories, like the original reception of The Satyricon by Ancient Romans, are met with widespread amusement and engagement. This signals the timeless qualities of human emotions in society.
Top to bottom, left to right: front page, chapter spreads, and close up
René Magritte, Les Idées Claires, 1955. Jean Baldessari, Pure Beauty, 1968. Jean-Michel Alberola, Little Utopian House, 2002.
︎ des Objets Reconnus, 2019
Transcoding is a technological phenomenon which can be used to connect different cultural subjects. This case is explored in Lost Treasures Found where Latin and Emojis become an unlikely match. On the other hand, artists like René Magritte, John Baldessari, and Jean-Michel Alberola connect subjects via visual juxtaposition. Through juxtaposition, Magritte compares clouds to boulders. Baldessari examines type’s relationship to color. And, Alberola superimposes fragments of figure and lyric to make whole forms. Through juxtaposition, these artists are able to reframe, question, and better understand their subject matter. Des Objets Reconnus takes this spirit of juxtaposition and combines it with the power of transcoding.
Identified keyword recognition of a portrait and a landscape for comparison.
︎ Harm to Ongoing Matter, 2020
Transcoding is expressive through its rigidity. In Lost Treasures Found and des Objets Reconnus transcoding made it possible to ingest and standardize many discrete assets, words and paintings respectively, to frame juxtaposition. Where transcoding is rigid, juxtaposition is loose. It is an artistic gesture to promote expression. For instance, Lost Treasures Found compares languages from different eras and des Objets Reconnus analyzes representation and meaning. So, one strength of new media enables the commingling of rigid and loose approaches to expression. Harm to Ongoing Matter pushes this dynamic further.
Early prototype converting words from the Mueller Report into chord progressions. Click on the video to toggle the audio on and off.
Early prototype rehearsing word playback to music with Seaboard Block.
In this limited edition video loop, the documentation from the Nuit Blanche performance is superimposed onto the report. All artist proceeds from this piece will be donated to Gray Area, the San Francisco project space where the works were originally conceived to be shown prior to COVID-19. A talk on this work and others from The Transcode Process is available on Patch by Gray Area alongside the exhibition opening on Sedition starting July 2, 2020.