My thesis work investigates the borderlands between material space(time) and electronic space(time). What spaces — real or virtual — are we in, and how do ways of image-making inform our concepts of them? My work exists in both electronic and physical space, pointing to the existence of a larger space(time) manifold encompassing both. Using light reflection and refraction, ferrofluid, water, lasers, and glass, I develop experimental video and animation techniques in order to expand into new ways of seeing.
Congratulations Gongzhuo Wang! See more of Gongzhuos work on her website.
I’m a Printmaker, Video Artist, and Graphic Designer. In the past few years, I explored the relationship between nature through living things, human behavior, and technology.
Expressions of the natural world, which are based on diverse natural materials and forms, model a particular way to compose the work in my thesis. I combined material references to humanity and nature to explore their intimate connections. In this artistic journey, finding an individual language to deeply analyze the different significance that each form of life brings into this world is the compelling part of these investigations.
Drawn to inspiration from two natural forms “animals” and “plants,” has inspired me to re-recognize art, and allowed me to open a way to feel the real situation between how humans coexist with nature. Nature is under pressure by widespread human exploitation, making the existence of natural life more precious than ever before. This way, the concepts of reality and disappearance need our reflection to respond to global climate change and the loss of nature as we have known it.
During these two years, the surrounding natural environment of Alfred has given me the opportunity to be drawn closer to animals and plants. With the emergence of life that has been explored, short, and occasionally profound moments linger in work without beginning or end.
They exist with peace indefinitely and originate with no beginning. The title Itinerant Beginning is implied in each work in the exhibition. Paper as a medium of transition that carries the weight of life with a rough or smooth surface. By collecting some animal hair (Wool) and plant specimens (teasel pods), their lives are reshaped on these carriers that were produced from natural fibers. Indeed, nature and immutability are the two significant elements that appear in the printed works. In the moment of their stillness, they confront our existence on these delicate papers, which leave a suspended presence by the power of their impressions.
Congratulations Qinxuan Zhang!
Cityscape is the new landscape, which always fascinates me a lot since these two years. Because I realize how its impacts on me, whether the impact is potentially or obviously, it has a strong power to let people perceive its existence, especially when we are all involved in it. I have noticed it since I have been to many different cities and stayed in each city for a longer or shorter time, especially Mexico City, which inspires me a lot. Since then, I recognize Guangzhou, China, the city that raises and grows me up. At this point, I decided to document it with my understanding in my own way, and what I hope is to let people to re-understand it and understand the shifting and altered city via my artworks. Particularly, the culture made by the culture, which is from people who are coming and leaving every day. The details of daily life in the city of the street taken place should be recorded. From my point of view, they can be unique, from my play with chance and randomness, and I want to convey it to the viewers.
With different mediums, such as screen printing, photopolymer plate intaglio, and video, Guangzhou can be re-understood with the alteration of color and shape happening in these mediums. When the audience’s comprehension of the city is reformed by my pieces, their re-understanding is part of my pieces, which is also the significance of the city as well.
My artist practice explores liminal space and documents psycho-ecologies experienced while interacting with non-human and human energies.
Invocation and response to othered actants offer a shared space which acknowledges full agency within rituals honoring co-creation of sound, shape, color, and pattern.
Entity and material investigations are further engaged through intuitive improvisations for compositional systems, movement, machines, and performance.
Elemental transmissions are transmuted through a mythic audiovisual language developed to inscribe details of phenomena I’ve encountered during the generation and processing of materials with a toolset including hybrid synthesis, feedback systems, and site-specific field recordings.
Interactions are then further encoded as cartographies within vessels containing previously hidden energetic transmissions–witnessed, gathered, and preserved for future use and contemplation.