Project 1 / Mechanical Reproduction

This work explores the mechanical characteristics inherent in the biological act of reproduction, as well as the unsustainable trends of human population growth.

The largely automated reproductive process, from fertilization through gestation and birth, is by its very nature robotic. The body performs a series of automated functions for which it was designed, culminating in the production of a commodity—human life. Even the initiating act of sexual intercourse can be viewed as a mechanized action from an evolutionary perspective.

I suggest that it is precisely because of this mechanistic nature of reproduction, that human civilization has equated childbirth with industry, resulting in an ultimately unmanageable burden for humanity and the ecosystem which supports it.

Project 2 / Memory

This work deconstructs the process of memory, or more precisely, the way in which memory itself fragments the present reality.

Human perception is implicitly tied to past events with each experience becoming the byproduct of a chaotic web of synapses. Nostalgia, randomness and habitual patterns continually filter one's aesthetic and emotional input to such a degree that reality turns subjective, a unique product of the individual.

Seen from this outlook, the undulating waves of the ocean can harness the weight of one’s entire world.

Project 3 / Suprematist Dance Party

This work is an homage to the Suprematist art movement in that it attempts to convey the spiritual purity of sound through the lens of geometric form. The physical movements of the square, rectangle, circle and line are explicitly tied to sounds that help to emanate their inherent qualities. As the soundtrack progresses the forms are allowed to push the boundaries through which they are confined and ultimately become an inseparable part of the music.

Project 4 / Radioactive Ghosts Are Watching Us

With the current disaster at the Fukushima Daiichi power station in mind, this typographic sequence considers the colossal force of nuclear energy within a world dependent upon its capabilities, while fearful of its capacity for devastation. This is particularly apropos with the atomic ruination of Nagasaki and Hiroshima ingrained in the Japanese psyche.

This dichotomy is expressed through a literal dismemberment of the phrase “radioactive ghosts are watching us.” Through a rapid succession of words, this haunting statement is dissected to reveal seemingly basic and playful pairings–an expression of the human need to rationalize the unconscionable.

Final Project / Steady Hands

Exploring the concept of identity, this work considers the impression of the self and one's perceived environment. This is explored through three mediums: the mirror, the photograph and radiating light.

The mirror, or reflected image, serves as a metaphor for self-perception. Often serving as the only "active" gateway for one to judge his or her appearance, the mirror is intuitively trusted as an accurate depiction of reality. The photograph–evoked through the beveled frames in the video–becomes archived evidence; one's documented reference for analyzing self-interactions within an outside environment. Lastly, the radiating light–that which makes things visible–becomes a symbol for breaking apart this internally constructed framework. As the beams become more powerful, they distort and obliterate the surroundings, consequently forcing one to reassess their place within it.