mixed media on linen
61 x 90cm
paint on fiberglass
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“Ánimas explore the interior dimensions of mind and soul in the embodied physicality of space. In Spanish the word anima means soul; its root ane means to breath.
Each sculpture has three kinds of inter-dimensional space that all occupy the same spatial coordinates: the concrete, volumetric space of the screens; the pictorial/volumetric space of the images produced by the paint on the screens; and the optical interference generated between the screen grids when two or more planes overlap (without coinciding), an optically real, but tactically non-existent space.”
Based on a Grid
Fireflies on the Water
mirror, plexiglass, 150 lights and water
281.9 × 367 × 367 cm
Untitled #2 (In Dust)
archival pigment print
Developing a Mutable Horizon
June 24, 2011
camera obscura installation
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My light installations use the ‘camera obscura’ as a point of departure. They are immersive optical environments, idealized spaces with discreet openings. In translating the outside world into moving fields of light and color, the projections make an argument for unfixed notion of sight.
The Facebook Polis
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1. Gravity is inverted in the Facebook Polis: one is always pulled to the top of the browser window and its deep blue horizon. We may understand this in a temporal sense (most recent stories at the top of the page), but also in a spatial sense (there is simply a disorientation being positioned somewhere in the middle of a scrolled-down web page). Grounding lies upward in our gesture. This is also where our little red indicator panel may be found.
2. The inhabitants of Facebook Polis primarily offer gestural expressions of the spoken word masquerading in written form. In fact, its processes make explicit this blur between speaking and writing as ideal forms. If, as Virno suggests, the figure of the virtuous public speaker is central to the emergence of the multitude, then we must ask how this blur may or may not develop its political potential. But we must also ask about the virtuosity of the public listener (an active process of communication in its own right) and its masquerade in written form. This is why Manning’s abstract diagram of the tango is so important: it suggests an ontogenetic account of both speaking and listening bodies in relation, perhaps useful even in the blur to the inscribed word.
3. When a synthetic space such as the Facebook Polis swells to 800 million inhabitants, it becomes more explicitly a political space, perhaps even a “nation”. But among other differences between it and our traditional understanding of a nation-state, there exists a qualitative difference in terms of how we understand “census”: Facebook overcounts the number within its space, maintaining phantom accounts, duplicate identities, “dead” or zombie accounts, etc. within its total. The nation-state, on the other hand, undercounts the number within its space, missing the refugees, migrants, and others being deemed in some contexts “illegal” within its total. The link between corpus and data remains incomplete. Both are quiet noises to their respective governmental apparatuses.
posted in no particular order, these aphorisms are the beginnings of a microbook-in-progress for Delere Press, a boutique e-book publishing venture by Jeremy Fernando and Yanyun Chen
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shade: emergent, folding, blowing
Paolo Virno: “The identification of a ‘we-centric’ space — a space where the ‘we’ does not equate with a plurality of a well defined ‘I,’ but designates, instead, a preindividual or subpersonal context — is the philosophically crucial point of Gallese’s reflection. … The important fact (for Winnicott, as well as for Gallese) is that this undifferentiated threshold, or preliminary ‘we-centric space,’ is not merely an ontogenetic episode that we leave behind; rather, it is the permanent condition of social interaction.”
Multitude: Between Innovation and Negation, Semiotext(e), 2008, p.178.