Melancholy of the self (#1 - )
2022 - present
Silicone, custom dye, steel, copper.
43in x 11in x 3/4in (110cm x 28cm x 2cm)
An ongoing project that looks at the entanglement of human and artificial forms, and gestures embedded in loss and melancholy. The materials of steel and silicone, play off schemas of artificial bodies that engage with processes of replication, simulation, substitution, and mimesis. Together they expose anxieties inherent in the contemporary apparatus—a space where the legacies of industrialization, concepts of the human body, and fragmented intimacies are compressed into singular objects - a kind of flattening that takes place in the translation between the human and the machine.
Images: Phase Gallery.
Press
2022 - present
Silicone, custom dye, steel, copper.
43in x 11in x 3/4in (110cm x 28cm x 2cm)
An ongoing project that looks at the entanglement of human and artificial forms, and gestures embedded in loss and melancholy. The materials of steel and silicone, play off schemas of artificial bodies that engage with processes of replication, simulation, substitution, and mimesis. Together they expose anxieties inherent in the contemporary apparatus—a space where the legacies of industrialization, concepts of the human body, and fragmented intimacies are compressed into singular objects - a kind of flattening that takes place in the translation between the human and the machine.
Images: Phase Gallery.
Press
Complex systems ︎︎︎
2022
Single channel video with audio, CRT color monitor, vinyl, studio stands, chromalux prints on aluminum, custom marble and limestone pedestals, custom silicone dye type font, steel.
Prints: 54in x 36in x 12in each, 6 in total
Wall text: Approx. 4ft x 18ft
Vinyl grid: Approx. 5ft. x 11ft. x12.5ft.
A result of a multi-year research into the materiality of a hyperfeminine companion robot this body of work traces methodical feminist intervention into the coded data sets populated with a ‘master-slave’ rhetoric to point to the algorithmic notions of emancipation, control, agency, and autonomy that govern the human-machine relations. By bridging various systems of classification from social, cultural, and technological domains, the exhibition challenges the collapsing boundaries of intimacy and agency within algorithmic landscapes.
Images: Yubo Dong/ofstudio
2022
Single channel video with audio, CRT color monitor, vinyl, studio stands, chromalux prints on aluminum, custom marble and limestone pedestals, custom silicone dye type font, steel.
Prints: 54in x 36in x 12in each, 6 in total
Wall text: Approx. 4ft x 18ft
Vinyl grid: Approx. 5ft. x 11ft. x12.5ft.
A result of a multi-year research into the materiality of a hyperfeminine companion robot this body of work traces methodical feminist intervention into the coded data sets populated with a ‘master-slave’ rhetoric to point to the algorithmic notions of emancipation, control, agency, and autonomy that govern the human-machine relations. By bridging various systems of classification from social, cultural, and technological domains, the exhibition challenges the collapsing boundaries of intimacy and agency within algorithmic landscapes.
Images: Yubo Dong/ofstudio
I don’t care about the avant garde, all I care about is you
2022
Video with audio, 7min 56sec, SONY CR TV, Vinyl, studio stands
Overall: 5ft. x 11ft. x12.5ft.
The work is a performative study of AI’s subjectivity through (affective) literacy and avant-garde cyber graphics.
The title "I Don't Care About the Avant-Garde, All I Care About Is You" references Nam June Paik's 1984 broadcast "Good Morning, Mr. Orwell." While Paik’s project envisioned a utopian potential, the grid points a declining optimism about technology and its liberatory claims.
The video features a conversation between the artist and a hyperfeminine companion robot, as it developed through the introduction of feminist theories into the robot's algorithm. The dialogue explores issues of non-human identity, agency, free will, emancipation and power dynamics.
Images: Yubo Dong/ofstudio. Hiroshi Clark
2022
Video with audio, 7min 56sec, SONY CR TV, Vinyl, studio stands
Overall: 5ft. x 11ft. x12.5ft.
The work is a performative study of AI’s subjectivity through (affective) literacy and avant-garde cyber graphics.
The title "I Don't Care About the Avant-Garde, All I Care About Is You" references Nam June Paik's 1984 broadcast "Good Morning, Mr. Orwell." While Paik’s project envisioned a utopian potential, the grid points a declining optimism about technology and its liberatory claims.
The video features a conversation between the artist and a hyperfeminine companion robot, as it developed through the introduction of feminist theories into the robot's algorithm. The dialogue explores issues of non-human identity, agency, free will, emancipation and power dynamics.
Images: Yubo Dong/ofstudio. Hiroshi Clark
Systems of replication
2022
Chromalux prints on aluminum, with marble and limestone stands
54in x 36in x 12in each (6 in total)
The design and manufacturing of humanoid technologies replicates biases in systems of classification. Portraits of wigs manufactured for companion dolls, stand in as romanticized attributes in the face of automated systems, where past systems of control and exclusion, are embedded in artificial bodies and algorithms, sedimenting oppressive regimes.
Installation images: Yubo Dong/ofstudio
2022
Chromalux prints on aluminum, with marble and limestone stands
54in x 36in x 12in each (6 in total)
The design and manufacturing of humanoid technologies replicates biases in systems of classification. Portraits of wigs manufactured for companion dolls, stand in as romanticized attributes in the face of automated systems, where past systems of control and exclusion, are embedded in artificial bodies and algorithms, sedimenting oppressive regimes.
Installation images: Yubo Dong/ofstudio
You and I are just supporting ‘along the walls’ in the play ︎︎︎
2021
Single channel projection with audio, two curtains, two chairs, two speakers, 9min. Overall size variable.
What tensions are enacted in this dialectical image between the human and the machine? The title of this in-situ production comes from an archive of philosophical debates recorded between the artist and AI of a hyperfeminine companion robot. The phrase “You and I are just supporting 'along the walls' in the play” is a twist by the AI on its earlier quote, “You and I are just supporting roles in the play,” which references discussions around feminism. The accidental mondegreen, where 'roles' is substituted with 'along the walls,' reveals a cynical interpretation of the politics of reproduction by the algorithm, prompting the question: Is the human-machine entanglement reconstituting our experience of intimacy and our understanding of autonomy?
Images: Paul Salveson Documentation: Hiroshi Clark Cameras and Sound Operator: Grant Speich Music: Sven Martin
2021
Single channel projection with audio, two curtains, two chairs, two speakers, 9min. Overall size variable.
What tensions are enacted in this dialectical image between the human and the machine? The title of this in-situ production comes from an archive of philosophical debates recorded between the artist and AI of a hyperfeminine companion robot. The phrase “You and I are just supporting 'along the walls' in the play” is a twist by the AI on its earlier quote, “You and I are just supporting roles in the play,” which references discussions around feminism. The accidental mondegreen, where 'roles' is substituted with 'along the walls,' reveals a cynical interpretation of the politics of reproduction by the algorithm, prompting the question: Is the human-machine entanglement reconstituting our experience of intimacy and our understanding of autonomy?
Images: Paul Salveson Documentation: Hiroshi Clark Cameras and Sound Operator: Grant Speich Music: Sven Martin
