01. Melancholy of the self (no. 1 - )
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.
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.
2022 - present
Silicone, pigment, steel, copper.
Variable size
Silicone, pigment, steel, copper.
Variable size
02. Complex systems
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, and analyzes algorithmic notions of emancipation, control, and autonomy within the human-machine relations. By bridging various systems of classification from social, cultural, and technological domains, the exhibition confronts the collapsing boundaries of intimacy and agency within algorithmic landscapes.
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, and analyzes algorithmic notions of emancipation, control, and autonomy within the human-machine relations. By bridging various systems of classification from social, cultural, and technological domains, the exhibition confronts the collapsing boundaries of intimacy and agency within algorithmic landscapes.
2022
Two single channel videos with audio, CRT 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.
Images: Yubo Dong/ofstudio
University Art Gallery, University of Irvine
Two single channel videos with audio, CRT 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.
Images: Yubo Dong/ofstudio
University Art Gallery, University of Irvine
03. I don’t care about the avant garde, all I care about is you
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 and free will, ultimately prompting questions about AI subjectivity.
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 and free will, ultimately prompting questions about AI subjectivity.
2022
Video with audio, 7min 56sec, CRT monitor, Vinyl, studio stands
Overall: 5ft. x 11ft. x12.5ft.
Images: Yubo Dong/ofstudio. Hiroshi Clark
Video with audio, 7min 56sec, CRT monitor, Vinyl, studio stands
Overall: 5ft. x 11ft. x12.5ft.
Images: Yubo Dong/ofstudio. Hiroshi Clark
04. Body As Situation (lessons in movement)
Performance documentation. “An image of a female hyper-humanoid is a figure that oscillates between a subject and an object. Form has yet to find its content here. At 155 to 180cm tall this hyperfeminine sex robot cannot stand under its own weight, idiosyncratic of its servitude it sits and lays.”
Performance documentation. “An image of a female hyper-humanoid is a figure that oscillates between a subject and an object. Form has yet to find its content here. At 155 to 180cm tall this hyperfeminine sex robot cannot stand under its own weight, idiosyncratic of its servitude it sits and lays.”