Part 2. Ephemeral Cycles, Everlasting Collapses

The artworks are mixed media paintings on canvas involving acrylic and various inks, created with styles combined and informed by techniques in pointillism, Southeast Asian ethnic pattern design, Japanese woodblock-printing, and East Asian ink painting.

Each work is a presentation of both a summation of parts, and the intertwining of mankind’s roots in identity with the natural world. Looking closely at the details, the subjects and icons used: flowers, fabrics, insects, and human visages, all are created whole by fragments of brushstrokes and points – they are detached particles yet when viewed from a far, create bigger meaning.

This is what my artworks aim to achieve. They are attempts to unify the complexities of humanity’s aspirations that is bound by nature. In the process, the ‘human’ figure blends with their environments – somehow losing the completeness of human-centricity. This is a realization in understanding ourselves, others, and society at large: we find who we are and we reflect our dreams when placing ourselves onto the other realm. While they may be viewed as fantastical, these paintings are expressions and curiosities on how we liken our fascination for beauty with nature. For instance, poetry and figures of speech to describe our loved ones to the little beautiful things we find around us like flowers.

The artworks are mixed media paintings on canvas involving acrylic and various inks, created with styles combined and informed by techniques in pointillism, Southeast Asian ethnic pattern design, Japanese woodblock-printing, and East Asian ink painting.

Each work is a presentation of both a summation of parts, and the intertwining of mankind’s roots in identity with the natural world. Looking closely at the details, the subjects and icons used: flowers, fabrics, insects, and human visages, all are created whole by fragments of brushstrokes and points – they are detached particles yet when viewed from a far, create bigger meaning.

This is what my artworks aim to achieve. They are attempts to unify the complexities of humanity’s aspirations that is bound by nature. In the process, the ‘human’ figure blends with their environments – somehow losing the completeness of human-centricity. This is a realization in understanding ourselves, others, and society at large: we find who we are and we reflect our dreams when placing ourselves onto the other realm. While they may be viewed as fantastical, these paintings are expressions and curiosities on how we liken our fascination for beauty with nature. For instance, poetry and figures of speech to describe our loved ones to the little beautiful things we find around us like flowers.

The artworks are mixed media paintings on canvas involving acrylic and various inks, created with styles combined and informed by techniques in pointillism, Southeast Asian ethnic pattern design, Japanese woodblock-printing, and East Asian ink painting.

Each work is a presentation of both a summation of parts, and the intertwining of mankind’s roots in identity with the natural world. Looking closely at the details, the subjects and icons used: flowers, fabrics, insects, and human visages, all are created whole by fragments of brushstrokes and points – they are detached particles yet when viewed from a far, create bigger meaning.

This is what my artworks aim to achieve. They are attempts to unify the complexities of humanity’s aspirations that is bound by nature. In the process, the ‘human’ figure blends with their environments – somehow losing the completeness of human-centricity. This is a realization in understanding ourselves, others, and society at large: we find who we are and we reflect our dreams when placing ourselves onto the other realm. While they may be viewed as fantastical, these paintings are expressions and curiosities on how we liken our fascination for beauty with nature. For instance, poetry and figures of speech to describe our loved ones to the little beautiful things we find around us like flowers.

The artworks are mixed media paintings on canvas involving acrylic and various inks, created with styles combined and informed by techniques in pointillism, Southeast Asian ethnic pattern design, Japanese woodblock-printing, and East Asian ink painting.

Each work is a presentation of both a summation of parts, and the intertwining of mankind’s roots in identity with the natural world. Looking closely at the details, the subjects and icons used: flowers, fabrics, insects, and human visages, all are created whole by fragments of brushstrokes and points – they are detached particles yet when viewed from a far, create bigger meaning.

This is what my artworks aim to achieve. They are attempts to unify the complexities of humanity’s aspirations that is bound by nature. In the process, the ‘human’ figure blends with their environments – somehow losing the completeness of human-centricity. This is a realization in understanding ourselves, others, and society at large: we find who we are and we reflect our dreams when placing ourselves onto the other realm. While they may be viewed as fantastical, these paintings are expressions and curiosities on how we liken our fascination for beauty with nature. For instance, poetry and figures of speech to describe our loved ones to the little beautiful things we find around us like flowers.

"Sojourn" invites you to embark upon a journey that seamlessly melds the artistic realm with the technological frontier. It stands as a testament to the symphony of human ingenuity and artificial intelligence, where the underground secret garden is re-envisioned through the convergence of captivating projections, mellifluous sounds, and innovative AI orchestrations.

"Sojourn" invites you to embark upon a journey that seamlessly melds the artistic realm with the technological frontier. It stands as a testament to the symphony of human ingenuity and artificial intelligence, where the underground secret garden is re-envisioned through the convergence of captivating projections, mellifluous sounds, and innovative AI orchestrations.

"Sojourn" invites you to embark upon a journey that seamlessly melds the artistic realm with the technological frontier. It stands as a testament to the symphony of human ingenuity and artificial intelligence, where the underground secret garden is re-envisioned through the convergence of captivating projections, mellifluous sounds, and innovative AI orchestrations.

"Sojourn" invites you to embark upon a journey that seamlessly melds the artistic realm with the technological frontier. It stands as a testament to the symphony of human ingenuity and artificial intelligence, where the underground secret garden is re-envisioned through the convergence of captivating projections, mellifluous sounds, and innovative AI orchestrations.

"Sojourn" invites you to embark upon a journey that seamlessly melds the artistic realm with the technological frontier. It stands as a testament to the symphony of human ingenuity and artificial intelligence, where the underground secret garden is re-envisioned through the convergence of captivating projections, mellifluous sounds, and innovative AI orchestrations.

"Sojourn" invites you to embark upon a journey that seamlessly melds the artistic realm with the technological frontier. It stands as a testament to the symphony of human ingenuity and artificial intelligence, where the underground secret garden is re-envisioned through the convergence of captivating projections, mellifluous sounds, and innovative AI orchestrations.

"Sojourn" invites you to embark upon a journey that seamlessly melds the artistic realm with the technological frontier. It stands as a testament to the symphony of human ingenuity and artificial intelligence, where the underground secret garden is re-envisioned through the convergence of captivating projections, mellifluous sounds, and innovative AI orchestrations.

Viruscape offers an evocative exploration into the lesser-acknowledged, "other" world residing within us: the teeming microscopic landscape of our bodies. In an age where the unseen became the focal point of global attention, this immersive game-art fusion challenges our conventional anthropocentric views by centering the narrative on our internal non-human actors. 

Players embark on an enthralling journey, not as humans, but through the lens of white blood cells, navigating a universe punctuated by bacterial and viral entities and tasked with fending them off. By transforming complex immunology concepts into intuitive gameplay dynamics, Viruscape bridges the gap between the familiar and the "other," shedding light on the significance and agency of our body's minute defenders.

A dominant purple-hued aesthetic, coupled with a pulsating soundtrack, crafts an ambiance reminiscent of both the mysterious and the magnificent, transporting players to a realm where the boundaries of self and "other" intertwine and blur. Viruscape, at its core, isn't just a game; it's a celebration of the intricate balance of life, underscoring the importance of harmonious coexistence between the myriad entities that call our bodies home. It challenges players to expand their understanding of "otherness," transcending the human-centric to appreciate and gain fluent understanding of the broader community of life within us.

Viruscape offers an evocative exploration into the lesser-acknowledged, "other" world residing within us: the teeming microscopic landscape of our bodies. In an age where the unseen became the focal point of global attention, this immersive game-art fusion challenges our conventional anthropocentric views by centering the narrative on our internal non-human actors. 

Players embark on an enthralling journey, not as humans, but through the lens of white blood cells, navigating a universe punctuated by bacterial and viral entities and tasked with fending them off. By transforming complex immunology concepts into intuitive gameplay dynamics, Viruscape bridges the gap between the familiar and the "other," shedding light on the significance and agency of our body's minute defenders.

A dominant purple-hued aesthetic, coupled with a pulsating soundtrack, crafts an ambiance reminiscent of both the mysterious and the magnificent, transporting players to a realm where the boundaries of self and "other" intertwine and blur. Viruscape, at its core, isn't just a game; it's a celebration of the intricate balance of life, underscoring the importance of harmonious coexistence between the myriad entities that call our bodies home. It challenges players to expand their understanding of "otherness," transcending the human-centric to appreciate and gain fluent understanding of the broader community of life within us.

Viruscape offers an evocative exploration into the lesser-acknowledged, "other" world residing within us: the teeming microscopic landscape of our bodies. In an age where the unseen became the focal point of global attention, this immersive game-art fusion challenges our conventional anthropocentric views by centering the narrative on our internal non-human actors. 

Players embark on an enthralling journey, not as humans, but through the lens of white blood cells, navigating a universe punctuated by bacterial and viral entities and tasked with fending them off. By transforming complex immunology concepts into intuitive gameplay dynamics, Viruscape bridges the gap between the familiar and the "other," shedding light on the significance and agency of our body's minute defenders.

A dominant purple-hued aesthetic, coupled with a pulsating soundtrack, crafts an ambiance reminiscent of both the mysterious and the magnificent, transporting players to a realm where the boundaries of self and "other" intertwine and blur. Viruscape, at its core, isn't just a game; it's a celebration of the intricate balance of life, underscoring the importance of harmonious coexistence between the myriad entities that call our bodies home. It challenges players to expand their understanding of "otherness," transcending the human-centric to appreciate and gain fluent understanding of the broader community of life within us.

Viruscape offers an evocative exploration into the lesser-acknowledged, "other" world residing within us: the teeming microscopic landscape of our bodies. In an age where the unseen became the focal point of global attention, this immersive game-art fusion challenges our conventional anthropocentric views by centering the narrative on our internal non-human actors. 

Players embark on an enthralling journey, not as humans, but through the lens of white blood cells, navigating a universe punctuated by bacterial and viral entities and tasked with fending them off. By transforming complex immunology concepts into intuitive gameplay dynamics, Viruscape bridges the gap between the familiar and the "other," shedding light on the significance and agency of our body's minute defenders.

A dominant purple-hued aesthetic, coupled with a pulsating soundtrack, crafts an ambiance reminiscent of both the mysterious and the magnificent, transporting players to a realm where the boundaries of self and "other" intertwine and blur. Viruscape, at its core, isn't just a game; it's a celebration of the intricate balance of life, underscoring the importance of harmonious coexistence between the myriad entities that call our bodies home. It challenges players to expand their understanding of "otherness," transcending the human-centric to appreciate and gain fluent understanding of the broader community of life within us.

Viruscape offers an evocative exploration into the lesser-acknowledged, "other" world residing within us: the teeming microscopic landscape of our bodies. In an age where the unseen became the focal point of global attention, this immersive game-art fusion challenges our conventional anthropocentric views by centering the narrative on our internal non-human actors. 

Players embark on an enthralling journey, not as humans, but through the lens of white blood cells, navigating a universe punctuated by bacterial and viral entities and tasked with fending them off. By transforming complex immunology concepts into intuitive gameplay dynamics, Viruscape bridges the gap between the familiar and the "other," shedding light on the significance and agency of our body's minute defenders.

A dominant purple-hued aesthetic, coupled with a pulsating soundtrack, crafts an ambiance reminiscent of both the mysterious and the magnificent, transporting players to a realm where the boundaries of self and "other" intertwine and blur. Viruscape, at its core, isn't just a game; it's a celebration of the intricate balance of life, underscoring the importance of harmonious coexistence between the myriad entities that call our bodies home. It challenges players to expand their understanding of "otherness," transcending the human-centric to appreciate and gain fluent understanding of the broader community of life within us.

Viruscape offers an evocative exploration into the lesser-acknowledged, "other" world residing within us: the teeming microscopic landscape of our bodies. In an age where the unseen became the focal point of global attention, this immersive game-art fusion challenges our conventional anthropocentric views by centering the narrative on our internal non-human actors. 

Players embark on an enthralling journey, not as humans, but through the lens of white blood cells, navigating a universe punctuated by bacterial and viral entities and tasked with fending them off. By transforming complex immunology concepts into intuitive gameplay dynamics, Viruscape bridges the gap between the familiar and the "other," shedding light on the significance and agency of our body's minute defenders.

A dominant purple-hued aesthetic, coupled with a pulsating soundtrack, crafts an ambiance reminiscent of both the mysterious and the magnificent, transporting players to a realm where the boundaries of self and "other" intertwine and blur. Viruscape, at its core, isn't just a game; it's a celebration of the intricate balance of life, underscoring the importance of harmonious coexistence between the myriad entities that call our bodies home. It challenges players to expand their understanding of "otherness," transcending the human-centric to appreciate and gain fluent understanding of the broader community of life within us.

"Crossover" is a short stop motion film that delves into the mysterious realm between life and death, drawing inspiration from the 1450s Islamic medical manuscript, Ibn Ilyās’s Tashrīḥ-badan-insān (the anatomy of the human body). The film opens in a hospital setting, where an anatomical illustration from the ancient manuscript sets the stage. In a captivating and symbolic moment, a couple of moths land on the body, triggering a transformative journey. The film transitions into a mesmerizing exploration of the connection between body and soul, as the protagonist embarks on a quest to set both free in the embrace of nature, beyond the confines of the hospital walls.

Soundtrack: "China Creek" by Dispersiones Sonoras.

Point of Departure: Bog Elegy which was originally shown at an open studio event for the School of Visual Arts Bioart Residency. The piece is a PLA 3D-printed bog body model atop a pedestal covered with peat moss. The bog body is covered with a SCOBY veil and accompanied by prayers written on iota carrageenan bioplastic as well as gathered moss, lichen, and pine cone from Whitesbog, NJ.

The piece was inspired by the inherited duality of the bog environment: a place built on decay and yet a preserver of life (in the form of bog bodies and in their function as carbon sinks) and a home for extraordinary forms of life (for example, carnivorous plants). In this piece, I am thinking through what it means to encounter the other within myself in the form of those that have come before me and the organisms that live within me and will eventually overtake me. Those who passed must die and decay as they were but remain alive in us in new and different ways that would not have been possible without death.

Encrypted Dialogue is a performance-based film that narrates how the human body can be turned into an instrument playing sounds from electromagnetic fields picked up via a wearable device. It challenges our anthropocentric point-of-view about who is the player and who is the instrument. It aims to provoke the audience’s curiosity about one of many types of hidden non-human powers, and the awe, perhaps the reverence we should develop for them. 

The project’s wearable device functions as a “translator” that allows humans to sense the EMF-based dialog surrounding us in Manhattan. As it deciphers EMF activity hidden away from human perception, the wearable, a goggle designed for this project, picks up and processes the EMF signals in proximity of the wearer into data inputs, received as musical expression and augmented by a motor fan reflecting the strength of the field. 

The “human-centered” lifestyle spawned by the consumer economy fuels human arrogance even more, as all it does is drown users with egocentric propaganda that urges them to consume for themselves. Going beyond the human-centric “mantra” with a humble approach to coexistence with other non-human systems, the artist attempt to depict the intricacies of our living environment - it’s not only our network but also the non-human’s network, but we are trapped in our own Umwelt by the limits of our perception. 

Guided by the post-human spirit of decentralizing humans, this project pays attention the opaque part of the world, and of the power that goes beyond human perception. The core takeaway of the project will be an awareness of the fact that this is not a human-centered world.

It’s a surreal film that takes place inside public trash bins, an anonymous character dwelling inside and peeking outside simultaneously. Reflecting how I find my position currently, also a narrative tracing back to my background.

“It seems like the more localized you are the more international you are.
Under the same internet and information, labeling and tagging the difference between us become a way to be identical and existing.
Then, what is Taiwanese?”

The nomadic atmosphere of my work comes from me losing track of my own background - the political maelstrom and the contradiction from my origin family. I build a shifting perspectives narrative to resonate the paradox identity of me and Taiwan.

“The island is my home.
So I started to learn how to fish and how to embrace the ocean.
I love the waves but it’s swallowing me.
The wave is ever-changing.
The wave of
Information.”

I project my nostalgia onto street objects, ubiquitous but nameless. Rather than determine a result. The self-mumbling dialogue inside every familiar shadow is sharing the emotion of contemporary anxiety.

“Down the Ra***t Hole” is a visual descent into a an underworld inhabited by the artist, who at the time of creation had become near-obsessed with a rat-centric erasure poem based on an press conference transcript on NYC.GOV titled “Mayor Eric Adams Signs Legislation to Fight Rats, Build Cleaner City.” Posed as an alternative to the textbook version of Mayor Adams’ War on Rats, the poem, and ensuing visual works scratch at the nature of political rhetorics and repetitions and scurry down the networked tunnels through which they disperse. Scavenged, repurposed, and scattered text, information, and materials refute the tone and intention of the original source text – here’s to “the greatest rats New York City ever had.”

“Down the Ra***t Hole” is a visual descent into a an underworld inhabited by the artist, who at the time of creation had become near-obsessed with a rat-centric erasure poem based on an press conference transcript on NYC.GOV titled “Mayor Eric Adams Signs Legislation to Fight Rats, Build Cleaner City.” Posed as an alternative to the textbook version of Mayor Adams’ War on Rats, the poem, and ensuing visual works scratch at the nature of political rhetorics and repetitions and scurry down the networked tunnels through which they disperse. Scavenged, repurposed, and scattered text, information, and materials refute the tone and intention of the original source text – here’s to “the greatest rats New York City ever had.”

“Down the Ra***t Hole” is a visual descent into a an underworld inhabited by the artist, who at the time of creation had become near-obsessed with a rat-centric erasure poem based on an press conference transcript on NYC.GOV titled “Mayor Eric Adams Signs Legislation to Fight Rats, Build Cleaner City.” Posed as an alternative to the textbook version of Mayor Adams’ War on Rats, the poem, and ensuing visual works scratch at the nature of political rhetorics and repetitions and scurry down the networked tunnels through which they disperse. Scavenged, repurposed, and scattered text, information, and materials refute the tone and intention of the original source text – here’s to “the greatest rats New York City ever had.”

“Down the Ra***t Hole” is a visual descent into a an underworld inhabited by the artist, who at the time of creation had become near-obsessed with a rat-centric erasure poem based on an press conference transcript on NYC.GOV titled “Mayor Eric Adams Signs Legislation to Fight Rats, Build Cleaner City.” Posed as an alternative to the textbook version of Mayor Adams’ War on Rats, the poem, and ensuing visual works scratch at the nature of political rhetorics and repetitions and scurry down the networked tunnels through which they disperse. Scavenged, repurposed, and scattered text, information, and materials refute the tone and intention of the original source text – here’s to “the greatest rats New York City ever had.”

“Down the Ra***t Hole” is a visual descent into a an underworld inhabited by the artist, who at the time of creation had become near-obsessed with a rat-centric erasure poem based on an press conference transcript on NYC.GOV titled “Mayor Eric Adams Signs Legislation to Fight Rats, Build Cleaner City.” Posed as an alternative to the textbook version of Mayor Adams’ War on Rats, the poem, and ensuing visual works scratch at the nature of political rhetorics and repetitions and scurry down the networked tunnels through which they disperse. Scavenged, repurposed, and scattered text, information, and materials refute the tone and intention of the original source text – here’s to “the greatest rats New York City ever had.”

Buildings provide us shelter and foster our sense of permanence and stability. They extend our private, internal spaces into the collective network, echoing the structures of thought, exploding our systems of reference and understanding into the spatial, material world our bodies occupy. 
Buildings also assimilate our physiological and psychological frailties with the hostilities of the natural world, allowing us safety and comfort in a landscape alive with diversities, many operating against our interests. The notions of permanence and sustainability that buildings provide exist solely as a construct, maintained by our subjectivity in discourse with our surroundings. What is left when we no longer maintain our communion with the places we’ve built?

On entering the building,  made devoid of activity following a catastrophic ecological event, the sense of a speculative post-human intervention is evident. Formed by the broken and rearranged materials once used to house capital exchange, are material utterances of pre-destruction activities, and post-human growth. Ad-hoc water vessels, pumping sustenance to and from micro-worlds, inhabit pockets of space within the cavernous shell. An awareness from within the apparently non-sentient amalgamations of matter, trigger response to human presence, sensing movement and responding with sound and light. Understanding of objects and apparatus is familiar, yet against interpretation. 

Timbers, cement, pvc tubing, plaster, paint, wiring, UV lighting, plastic tarps, electronic devices, water, and incidental weeds creep through the space like mimetic ghosts, improvising possible futures.

Buildings provide us shelter and foster our sense of permanence and stability. They extend our private, internal spaces into the collective network, echoing the structures of thought, exploding our systems of reference and understanding into the spatial, material world our bodies occupy. 
Buildings also assimilate our physiological and psychological frailties with the hostilities of the natural world, allowing us safety and comfort in a landscape alive with diversities, many operating against our interests. The notions of permanence and sustainability that buildings provide exist solely as a construct, maintained by our subjectivity in discourse with our surroundings. What is left when we no longer maintain our communion with the places we’ve built?

On entering the building,  made devoid of activity following a catastrophic ecological event, the sense of a speculative post-human intervention is evident. Formed by the broken and rearranged materials once used to house capital exchange, are material utterances of pre-destruction activities, and post-human growth. Ad-hoc water vessels, pumping sustenance to and from micro-worlds, inhabit pockets of space within the cavernous shell. An awareness from within the apparently non-sentient amalgamations of matter, trigger response to human presence, sensing movement and responding with sound and light. Understanding of objects and apparatus is familiar, yet against interpretation. 

Timbers, cement, pvc tubing, plaster, paint, wiring, UV lighting, plastic tarps, electronic devices, water, and incidental weeds creep through the space like mimetic ghosts, improvising possible futures.

Buildings provide us shelter and foster our sense of permanence and stability. They extend our private, internal spaces into the collective network, echoing the structures of thought, exploding our systems of reference and understanding into the spatial, material world our bodies occupy. 
Buildings also assimilate our physiological and psychological frailties with the hostilities of the natural world, allowing us safety and comfort in a landscape alive with diversities, many operating against our interests. The notions of permanence and sustainability that buildings provide exist solely as a construct, maintained by our subjectivity in discourse with our surroundings. What is left when we no longer maintain our communion with the places we’ve built?

On entering the building,  made devoid of activity following a catastrophic ecological event, the sense of a speculative post-human intervention is evident. Formed by the broken and rearranged materials once used to house capital exchange, are material utterances of pre-destruction activities, and post-human growth. Ad-hoc water vessels, pumping sustenance to and from micro-worlds, inhabit pockets of space within the cavernous shell. An awareness from within the apparently non-sentient amalgamations of matter, trigger response to human presence, sensing movement and responding with sound and light. Understanding of objects and apparatus is familiar, yet against interpretation. 

Timbers, cement, pvc tubing, plaster, paint, wiring, UV lighting, plastic tarps, electronic devices, water, and incidental weeds creep through the space like mimetic ghosts, improvising possible futures.

Buildings provide us shelter and foster our sense of permanence and stability. They extend our private, internal spaces into the collective network, echoing the structures of thought, exploding our systems of reference and understanding into the spatial, material world our bodies occupy. 
Buildings also assimilate our physiological and psychological frailties with the hostilities of the natural world, allowing us safety and comfort in a landscape alive with diversities, many operating against our interests. The notions of permanence and sustainability that buildings provide exist solely as a construct, maintained by our subjectivity in discourse with our surroundings. What is left when we no longer maintain our communion with the places we’ve built?

On entering the building,  made devoid of activity following a catastrophic ecological event, the sense of a speculative post-human intervention is evident. Formed by the broken and rearranged materials once used to house capital exchange, are material utterances of pre-destruction activities, and post-human growth. Ad-hoc water vessels, pumping sustenance to and from micro-worlds, inhabit pockets of space within the cavernous shell. An awareness from within the apparently non-sentient amalgamations of matter, trigger response to human presence, sensing movement and responding with sound and light. Understanding of objects and apparatus is familiar, yet against interpretation. 

Timbers, cement, pvc tubing, plaster, paint, wiring, UV lighting, plastic tarps, electronic devices, water, and incidental weeds creep through the space like mimetic ghosts, improvising possible futures.

Buildings provide us shelter and foster our sense of permanence and stability. They extend our private, internal spaces into the collective network, echoing the structures of thought, exploding our systems of reference and understanding into the spatial, material world our bodies occupy. 
Buildings also assimilate our physiological and psychological frailties with the hostilities of the natural world, allowing us safety and comfort in a landscape alive with diversities, many operating against our interests. The notions of permanence and sustainability that buildings provide exist solely as a construct, maintained by our subjectivity in discourse with our surroundings. What is left when we no longer maintain our communion with the places we’ve built?

On entering the building,  made devoid of activity following a catastrophic ecological event, the sense of a speculative post-human intervention is evident. Formed by the broken and rearranged materials once used to house capital exchange, are material utterances of pre-destruction activities, and post-human growth. Ad-hoc water vessels, pumping sustenance to and from micro-worlds, inhabit pockets of space within the cavernous shell. An awareness from within the apparently non-sentient amalgamations of matter, trigger response to human presence, sensing movement and responding with sound and light. Understanding of objects and apparatus is familiar, yet against interpretation. 

Timbers, cement, pvc tubing, plaster, paint, wiring, UV lighting, plastic tarps, electronic devices, water, and incidental weeds creep through the space like mimetic ghosts, improvising possible futures.

Buildings provide us shelter and foster our sense of permanence and stability. They extend our private, internal spaces into the collective network, echoing the structures of thought, exploding our systems of reference and understanding into the spatial, material world our bodies occupy. 
Buildings also assimilate our physiological and psychological frailties with the hostilities of the natural world, allowing us safety and comfort in a landscape alive with diversities, many operating against our interests. The notions of permanence and sustainability that buildings provide exist solely as a construct, maintained by our subjectivity in discourse with our surroundings. What is left when we no longer maintain our communion with the places we’ve built?

On entering the building,  made devoid of activity following a catastrophic ecological event, the sense of a speculative post-human intervention is evident. Formed by the broken and rearranged materials once used to house capital exchange, are material utterances of pre-destruction activities, and post-human growth. Ad-hoc water vessels, pumping sustenance to and from micro-worlds, inhabit pockets of space within the cavernous shell. An awareness from within the apparently non-sentient amalgamations of matter, trigger response to human presence, sensing movement and responding with sound and light. Understanding of objects and apparatus is familiar, yet against interpretation. 

Timbers, cement, pvc tubing, plaster, paint, wiring, UV lighting, plastic tarps, electronic devices, water, and incidental weeds creep through the space like mimetic ghosts, improvising possible futures.

Buildings provide us shelter and foster our sense of permanence and stability. They extend our private, internal spaces into the collective network, echoing the structures of thought, exploding our systems of reference and understanding into the spatial, material world our bodies occupy. 
Buildings also assimilate our physiological and psychological frailties with the hostilities of the natural world, allowing us safety and comfort in a landscape alive with diversities, many operating against our interests. The notions of permanence and sustainability that buildings provide exist solely as a construct, maintained by our subjectivity in discourse with our surroundings. What is left when we no longer maintain our communion with the places we’ve built?

On entering the building,  made devoid of activity following a catastrophic ecological event, the sense of a speculative post-human intervention is evident. Formed by the broken and rearranged materials once used to house capital exchange, are material utterances of pre-destruction activities, and post-human growth. Ad-hoc water vessels, pumping sustenance to and from micro-worlds, inhabit pockets of space within the cavernous shell. An awareness from within the apparently non-sentient amalgamations of matter, trigger response to human presence, sensing movement and responding with sound and light. Understanding of objects and apparatus is familiar, yet against interpretation. 

Timbers, cement, pvc tubing, plaster, paint, wiring, UV lighting, plastic tarps, electronic devices, water, and incidental weeds creep through the space like mimetic ghosts, improvising possible futures.