Dreaming Specter is an interactive visual installation to highlight memory decay. It was created for and installed at Decadent Decay; an experimental dining event by Guerilla Science at Bat Haus in Brooklyn. The two day event explored the theme of ‘Decay’ in science, arts, and creative dining. A camera captured movement in real-time, preserved parts in view, that were filtered and re-drawn over and over, refreshing every minute, and projected inside a large empty frame during the event.
The dreaming specter observes a part of our reality, our physical selves in a small space and over time presents it through a visual language constructed out of our present and immediate past. It is an attempt to bridge the gap between the two states of trying to live in the moment and trying to live in memory and reflection. Moments are born out of both states, jumping from one to the other. They then fade away just like memories over time.
All is mine but nothing owned,
nothing owned for memory,
and mine only while I look.
Result is an ever-changing digital dream state that reveals patterns constructed through loose associations with physical bodies, abstracting their identities and meaning digitally. In this digital age, we are dissolving into networks and systems as they are dissolving into us, forming ephemeral, misrepresented identities that can render us in a state of oblivion.
A series of spatialized sound experiments using physical gestures and movement, turning human body into an interface for audio perspective control. These experiments serve as interactive playgrounds, creating introspective, emergent and performative experiences within the limits of human body without any wearable sensors, as well as an investigation in embodied music cognition; generating connections between the individual, their body, movement and gestures through sound, allowing for an analysis and understanding in the roles of performer and audience.
Deriving its roots from the philosophy of nothingness to guide the methodology of invisible interaction and lack of instruction, these poetic experiences reveal themselves to their users in layers offering the right mix of abstraction in narrative and freedom in interaction to create an unguided, improvised and unique experience.
Collaboration with Katherine Louise Boehm.
Ad Infinitum is an audio-visual artwork inspired by emanations flowing all around us. It provides an immersive and engaging experience for the audience, in order to awe and self-reflect; by inducing a sense of physiological resonance, revealing patterns of eye movement as they attempt to synchronize with patterns evolving out of 3D noise.
Morphogenetic studies in cellular biology suggest that complex life-forms develop and evolve from simple beginnings via certain rules and conditions. Another, more recent study came out on existence of microbial clouds, composed of biological particles emitted by the human micro-biome. The way we see reality, follows its own fractal patterns. Extrapolating these concepts from morphogenetic waves in cellular biology, and from studies on existence of microbial clouds in proxemical physics, Ad Infinitum presents the evolving and unique signature, of us and the space we live in, through visual mathematics.
Reinterpretations is an interactive audio-visual journey through a code-generated cosmos. Audience fly through an alternate universe in five parts following an abstract philosophical narrative around dialectical breakdown of the process of reinterpretation.
1. perpetual states of motion
2. silent entropy
3. from sensation to perception
4. communal overlap of thought
5. inte | rpret | gr | ation
Each track deals with conceptual paradigms of scale, dimensions, time and movement. These visuals were performed live as well as used in developing the trailer for the album.
Destructure is an ephemeral sculpture composed of a range of 15 technological object forms spanning pre-historic to the contemporary era- including an axe, an abacus, a compass, a Nintendo controller, an iPhone 5 and a bionic hand. These objects were chemically destroyed, reflecting both the natural processes of erosion and destruction, and also the march of obsolescence in technological progress. Firstly sourced as 3d models from the internet, the objects were 3d-printed in polystyrene and painted white. The objects were then arranged vertically in three layers inside of a clear acrylic box, mimicking a vitrine like those found for display in history and art museums. The vertical arrangement references the archaeological layering of history as objects and tools are placed or lost in the earth over generations.
The sculpture was brought to Brooklyn Bridge Park in Dumbo that has undergone massive gentrification after the Hurricane Sandy and placed on an old iron plinth that rises from a man-made tidal inlet, a marker of Dumbo's industrial past. The erosive process, realized by pouring acetone from the top of the box which leaked through, decomposed these tools and left dissolved, unrecognizable, almost organic masses. Technology changes quickly, and recent objects soon become arcane, dissolving away with their purposes and their users. In the same vein, entire geographies and geologies become lost to new structures, and even nature itself becomes obsolete.
Collaboration with Tyler Henry.
New World Symphony
Real-time visual accompaniment to Crumb’s Idyll for the Misbegotten performed by New World Symphony Orchestra at New World Symphony Theater in Miami.
Several user tests were done to find common threads that come to mind when listening to the piece. Art direction for curation of footage involved identifying moods and overarching themes. Discussions and visual research were done on themes of melancholia, ancient rituals, religions, nature and war. Protoype videos were created with several iterations on content and effects. The visuals were performed in real-time alongside the performance in 2015.
Collaboration with Katherine Louise Boehm.