Installation at the Museum of Human Achievement, November 2014
The Great War on Façades
The Son of Man, 1964 René Magritte “At least it hides the face partly. Well, so […]
The SilkRoad 3.0: Danaë in the Deep Web
Ross Ulbricht granted the digital world the Silk Road, a gift of freedom through anonymity—a Ring […]
They say: Woman is Nature and Man is History. We say: Reject Identity and Create Promiscuously. 2011 […]
Deus ex Machina
Object Cam Live
Adopting the utilitarian aesthetic of the digitized sex industry, this is the beginning of an artistic ethnography of "Cam-Girl" sub-cultures, comparing the contemporary extensions of the masculine gaze's heritage of objectification to trends throughout the art historical canon.
An aesthetic investigation that traces the potential consequences of Grindr, the all-male geosocial networking technology, as it quickly accelerates the inherent struggles and illnesses of contemporary gay and bisexual communities.
Lingering social media profiles become digital requiems to the dead. Facebook has inadvertently become a self-manicured mausoleum. In 2010 there were already 5,762,745 dead persons embalmed in the echoes of their curated self-constructs.
Le Grand Objet
"Le Grand Objet." began collaboratively as a female artist's critical self-portrait, intended as a performative critique of the aesthetic history of the woman as sex object. We started by meticulously staging Ingre’s "La Grande Odalisque" as a large format photograph, distorting her body digitally to fit the impossible proportions of his Odalisque...
Caught staring into the content behind their own reflection of the screen, the contemporary individual potentially spends endless hours entranced as inauthentic autobiographer. The lines between self-addiction and self-advertising blur during the narrative curation of their digital selves. Can one help but cultivate the self-commodifying brand of Narcissism?