Department of Biological Flow
Ana Teresa Barboza
embroidery and transfer on canvas
5 pieces of 32cm x 45cm
Can’t Stop Rolling it Up
acrylic on watercolor paper and aluminum plate
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“The story of Can’t Stop Rolling It Up has started from a flat drawing. After being enlarged proportionally onto 144 full-sheet water color papers, the drawings are cut, curled, and then pieced together onto an aluminum board. Shades that appear underneath the curls also become part of the visual elements in the work. Simply by adjusting the viewing distance, the audience also shifts between macrocosmic or microcosmic views, experiencing the work in both two-dimensional and three-dimensional aspects.”
South African Handprint Portraits
sweat and heat imprints on film emulsion
Cell (Eyes and Mirrors)
marble, mirrors, steel, and glass
So, you’ve got a broken TV that Wii induced and you want to turn it into an art project, eh?
Some thoughts on process:
1. What are the anatomical elements of the technology that you wish to explore, if any?
2. What is it about the technology’s “broken-ness” or “error” that is of interest?
3. What are the notable visual elements of the crack, materially and aesthetically?
4. Are there any other senses engaged by this crack?
5. How do we understand the cracked image in relation to the “edge of affect”?
6. How is the gesture that Wii produced and its resultant crack a cut through the skin — or better, a skin tectonics?
An image of thought is always incomplete, since it is a projection of the empirical body (animal, social, ecological) out into the knowable world, mediated as such by a technics of intersubjectivity. In our primarily ocularcentric society this often assumes the perspectival form, a taking of the image at some removed distance for a considered (and reconsidered) understanding and appraisal. The incomplete image of thought is thus always a biased
Hyper Geography (detail)
American Sporting Alphabet
silkscreen t-shirt project
A remix in homage to Heidi Cody’s contemporary pop art classic American Alphabet, this project mines the iconic logos that represent the teams, management and media influences of a particular American sporting tradition.
American Sporting Alphabet then injects these remixed images back into the circuits of electronic production and consumption in the form of “sports merchandise” — challenging questions of intellectual property and the commons of the imagined sporting community in the process.
But American Sporting Alphabet is also an indirect critique of Cody’s work in that it demonstrates how the recombinant logic undermining a particular network of signification may itself form an abstract diagram able to slide transversally into other aesthetic and political contexts.