New
Art
City
Virtual Art Space
Help icon

Catalog view is the alternative 2D representation of our 3D virtual art space. This page is friendly to assistive technologies and does not include decorative elements used in the 3D gallery.

Catalog:

Identity Scaffolding

Opened June 25th, 2021 View 3D Gallery
Poster image for  Identity Scaffolding

Statement:

The scaffolding of individual and collective identities is relational to the expanded understanding of photography in a contemporary sense. Having evolved from within representation, the photograph is leaving its genesis behind so as to be recognised as unfolding in practice. It has outgrown its positioning as artefact and is sustaining conversations about our environment as contingent, ephemeral, emergent in flux and in tandem with our grasp of reality, which has steered away from the collapsing methodologies of metaphysics. Constituting a nexus of human communication, the image has been entangled in complex affective relations with human and inanimate actants alike. Similarly to photographs, contemporary perceptions of Self and Other occur beyond such interpretations as ‘fixed’ or ‘permanent’. As has been demonstrated in this room, taking a cross-disciplinary approach to traditional and post-photographic practices picks up an array of conversations about knowledges and individualities which are not readily available to consciousness or traditional signification. Their formation is constantly expanding and may be traced and studied more extensively alongside other artistic practices and critical theories. The image’s engagement in embodied encounters between people, places, objects and technologies reshape and produce anew the perceptions of our environments. Taking a closer look at the effervescence of intervention as well as situating the mechanisms and potency of photography’s agency could permit societies to look beyond the lingering limitations of humanist thought and be re-anchored in the inter-relational reality of today.

Text by Anna Komitska

Room Curators
Peter Ainsworth
Alexandra Wansell
Lai Lam Fave
Juliusz Grabianski

Participating Artists

Aris Patsalidis
Xu Bangte
Edward Reid
Juliusz Grabianski
Adam Roberts
Shue Kabir
Thando May-Mtindi
Millie Hardingham
Maya Campbell
Isabelle Leonard
Isabel Skipp
Lai Lam Fave
Gaia Camattari
n00oodies

Artworks in this room:

Most likely To 2021

ARISTOS PATSALIDIS

Most likely to... is based on the pressure to conform which is placed on teenagers by the quote “most likely to” often used in end of school year books. The pressure to conform to these expectations are significantly increased with the rise of television and social media.

The work is an image split in two, the left half contains a QR code and the right half is a portrait containing a red haired person in front a blue background. 

Across the image is a quote that says #MOSTLIKELY TO

Most likely to 2021

ARISTOS PATSALIDIS

Most likely to... is based on the pressure to conform which is placed on teenagers by the quote “most likely to” often used in end of school year books. The pressure to conform to these expectations are significantly increased with the rise of television and social media.

The work is an image split in two, the left half contains a QR code and the right half is a portrait containing a  an image of a person wearing a blue varsity jacket holding an orange basketball. 

Across the image is a quote that says #MOSTLIKELY TO

Most Likely To 2021

ARISTOS PATSALIDIS

Most likely to... is based on the pressure to conform which is placed on teenagers by the quote “most likely to” often used in end of school year books. The pressure to conform to these expectations are significantly increased with the rise of television and social media.

The work is an image split in two, the left half contains a QR code and the right image is a portrait containing a person wearing a purple roll neck and a brown checked blazer with gold buttons. 

Across the image is a quote that says #MOSTLIKELY TO

Escaping Freedom A Great mind is Androgynous 2021

Bangte Xu

"Escaping Freedom" is a way for men to escape from social dogmas in contemporary society. More specifically, it is a work to explore whether males should follow the stereotypes of men or jump out of the frame that society unintentionally created. For example, when a man shows his vulnerability to others, like crying in public, revealing fear in front of people, or showing signs of grievance, the one will be preached that his behaviour is ashamed because it is against the traditional notions of masculinity in people's minds.

The work is a portrait of a boy wearing a black outfit with white coloured ruffles against a beige background. The boy faces away from the camera.

Escaping Freedom A Great mind is Androgynous 2021

Bangte Xu

"Escaping Freedom" is a way for men to escape from social dogmas in contemporary society. More specifically, it is a work to explore whether males should follow the stereotypes of men or jump out of the frame that society unintentionally created. For example, when a man shows his vulnerability to others, like crying in public, revealing fear in front of people, or showing signs of grievance, the one will be preached that his behaviour is ashamed because it is against the traditional notions of masculinity in people's minds.

The work is an portrait of a boy facing away from the camera ; wearing a white flower crown and pearl jewellery against a beige background.

Suppress 2021

Edward Reid

SUPPRESS, is a visualisation of the struggle I had embracing my bisexuality whilst I was a teenager at school. The work portrays how the heterosexual identity I upheld to fit in at an all boys school had to fight to keep my bisexuality hidden. Presented in a series of 8 surrealist photographs, depicting an abstract narrative of conflict between a group of men in suits, and a nude figure.

The work is a black and white image of naked boy with a chain around their neck floating in the clouds.

Suppress 2021

Edward Reid

SUPPRESS, is a visualisation of the struggle I had embracing my bisexuality whilst I was a teenager at school. The work portrays how the heterosexual identity I upheld to fit in at an all boys school had to fight to keep my bisexuality hidden. Presented in a series of 8 surrealist photographs, depicting an abstract narrative of conflict between a group of men in suits, and a nude figure.

The work is a black and white image of a three identical boys wearing suits pulling on a large metal chain.

Suppress 2021

Edward Reid

SUPPRESS, is a visualisation of the struggle I had embracing my bisexuality whilst I was a teenager at school. The work portrays how the heterosexual identity I upheld to fit in at an all boys school had to fight to keep my bisexuality hidden. Presented in a series of 8 surrealist photographs, depicting an abstract narrative of conflict between a group of men in suits, and a nude figure.

The work is a black and white image of a four identical boys wearing suits pulling on a large metal chain. In the top right hand corner , a fifth naked boy can be seen and is being pulled down from the sky by the chain.

Suppress 2021

Edward Reid

SUPPRESS, is a visualisation of the struggle I had embracing my bisexuality whilst I was a teenager at school. The work portrays how the heterosexual identity I upheld to fit in at an all boys school had to fight to keep my bisexuality hidden. Presented in a series of 8 surrealist photographs, depicting an abstract narrative of conflict between a group of men in suits, and a nude figure.

The work is a black and white image from a bird's eye view of a four identical boys wearing suits pulling on a large metal chain. In the top right hand corner , a fifth naked boy can be seen and is being pulled down from the sky by the chain.

Suppress 2021

Edward Reid

SUPPRESS, is a visualisation of the struggle I had embracing my bisexuality whilst I was a teenager at school. The work portrays how the heterosexual identity I upheld to fit in at an all boys school had to fight to keep my bisexuality hidden. Presented in a series of 8 surrealist photographs, depicting an abstract narrative of conflict between a group of men in suits, and a nude figure.

The work is a black and white image of four identical boys in suits standing around a fifth boy naked on the floor.

Suppress 2021

Edward Reid

SUPPRESS, is a visualisation of the struggle I had embracing my bisexuality whilst I was a teenager at school. The work portrays how the heterosexual identity I upheld to fit in at an all boys school had to fight to keep my bisexuality hidden. Presented in a series of 8 surrealist photographs, depicting an abstract narrative of conflict between a group of men in suits, and a nude figure.

The work is a black and white image where we see four identical men in suits attempting to dress a fifth boy, who is wear a collar, in a matching suit.

Suppress 2021

Edward Reid

SUPPRESS, is a visualisation of the struggle I had embracing my bisexuality whilst I was a teenager at school. The work portrays how the heterosexual identity I upheld to fit in at an all boys school had to fight to keep my bisexuality hidden. Presented in a series of 8 surrealist photographs, depicting an abstract narrative of conflict between a group of men in suits, and a nude figure.

The work is a black and white close up image showing three men. Two of the men are identical and have beards. The third is identical but does not have a beard. They are looking in the distance to the right.

Suppress 2021

Edward Reid

SUPPRESS, is a visualisation of the struggle I had embracing my bisexuality whilst I was a teenager at school. The work portrays how the heterosexual identity I upheld to fit in at an all boys school had to fight to keep my bisexuality hidden. Presented in a series of 8 surrealist photographs, depicting an abstract narrative of conflict between a group of men in suits, and a nude figure.

The work is a black and white image. In the image there is a row of five identical men in suits. These men are looking at a enormous figure of an unknown naked person.

Send Her In 2021

Isabelle Leonard

Send Her In is a multimedia project exploring the distinct feminisation of madness in our language. A language that stems from psychological, physical and verbal mistreatment of women throughout history, subsequently becoming normalised and imbedded into modern society.

The image is of hair which is threaded through four pieces of metallic pipe.

Ana 2021

Millie Hardingham

ANA explores the dark realities of the Hollywood stereotype of the housewife. This series of self portraits comments on issues faced by women today; with social media painting an unrealistic standard for women and the repercussions of such pressures.

Ana 2021

Millie Hardingham

ANA explores the dark realities of the Hollywood stereotype of the housewife. This series of self portraits comments on issues faced by women today; with social media painting an unrealistic standard for women and the repercussions of such pressures.

The image shows a woman getting dress in her bedroom, sitting in the edge of her bed. She is wearing rollers, her back is turned away from the camera, looking dead straight into a hand held mirror she places up to her face.

Ana 2021

Millie Hardingham

ANA explores the dark realities of the Hollywood stereotype of the housewife. This series of self portraits comments on issues faced by women today; with social media painting an unrealistic standard for women and the repercussions of such pressures.

The image is of a vanity case on a table. The table is covered in a floral tablecloth and has an alarm clock and a ceramic vases filled with pink roses. Ontop of the table is an open suitcase, inside the suitcase is a wig, some fabric , a tape measure, comb, a magazine and a string of pearls.

Ana 2021

Millie Hardingham

ANA explores the dark realities of the Hollywood stereotype of the housewife. This series of self portraits comments on issues faced by women today; with social media painting an unrealistic standard for women and the repercussions of such pressures.

The image is a blonde woman sitting in a bathroom, on the side of a bathtub. Behind her is a washing line which has 5 pairs of underwear hanging on it. The woman is drying her hair with a pink hairdryer from the 1950s.

Ana 2021

Millie Hardingham

ANA explores the dark realities of the Hollywood stereotype of the housewife. This series of self portraits comments on issues faced by women today; with social media painting an unrealistic standard for women and the repercussions of such pressures.

A blonde women in a green and white spotted blouse with a white skirt is sitting in front of a window reading a magazine

Ana 2021

Millie Hardingham

ANA explores the dark realities of the Hollywood stereotype of the housewife. This series of self portraits comments on issues faced by women today; with social media painting an unrealistic standard for women and the repercussions of such pressures.

A blonde women in a green and white spotted blouse with a white skirt is sitting in front of a window.

Ana 2021

Millie Hardingham

ANA explores the dark realities of the Hollywood stereotype of the housewife. This series of self portraits comments on issues faced by women today; with social media painting an unrealistic standard for women and the repercussions of such pressures.

A blonde women in a green and white spotted blouse is leaning of a surface holding a ceramic mug depicting two birds. She is looking into the distance.

Ana 2021

Millie Hardingham

ANA explores the dark realities of the Hollywood stereotype of the housewife. This series of self portraits comments on issues faced by women today; with social media painting an unrealistic standard for women and the repercussions of such pressures.

An image of a women wearing yellow washing up gloves, putting their hands under a tap that is not on.

Ana 2021

Millie Hardingham

ANA explores the dark realities of the Hollywood stereotype of the housewife. This series of self portraits comments on issues faced by women today; with social media painting an unrealistic standard for women and the repercussions of such pressures.

An image of a women wearing yellow washing up gloves, gripping the side of a silver sink.

Ana 2021

Millie Hardingham

ANA explores the dark realities of the Hollywood stereotype of the housewife. This series of self portraits comments on issues faced by women today; with social media painting an unrealistic standard for women and the repercussions of such pressures.

An image of a women in a green and white spotted blouse and a white skirt stands in a kitchen. There is a bottle of split milk on the floor on the right hand side of the image.

Ana 2021

Millie Hardingham

ANA explores the dark realities of the Hollywood stereotype of the housewife. This series of self portraits comments on issues faced by women today; with social media painting an unrealistic standard for women and the repercussions of such pressures.

An image of a women wearing a yellow dress, with pink patterned headdress and sunglasses sitting in a garden reading a magazine. In the left hand corner is a small glass of pink champagne on a white tablecloth.

Ana 2021

Millie Hardingham

ANA explores the dark realities of the Hollywood stereotype of the housewife. This series of self portraits comments on issues faced by women today; with social media painting an unrealistic standard for women and the repercussions of such pressures.

An image of a women wearing a pink dress sitting a fully laid table, with candles and roast chicken on it.

Ana 2021

Millie Hardingham

ANA explores the dark realities of the Hollywood stereotype of the housewife. This series of self portraits comments on issues faced by women today; with social media painting an unrealistic standard for women and the repercussions of such pressures.

An image of a glass bottle of milk that has fallen on the floor, milk is spilling out of it. You can see the feet of a woman with black heeled shoes on.

Ana 2021

Millie Hardingham

ANA explores the dark realities of the Hollywood stereotype of the housewife. This series of self portraits comments on issues faced by women today; with social media painting an unrealistic standard for women and the repercussions of such pressures.

An image taken at night, of a women in a yellow jacket with a gold headdress on, kneeling in front of a cross on the ground surrounded by white and purple flowers.

Ana 2021

Millie Hardingham

ANA explores the dark realities of the Hollywood stereotype of the housewife. This series of self portraits comments on issues faced by women today; with social media painting an unrealistic standard for women and the repercussions of such pressures.

Ana 2021

Millie Hardingham

ANA explores the dark realities of the Hollywood stereotype of the housewife. This series of self portraits comments on issues faced by women today; with social media painting an unrealistic standard for women and the repercussions of such pressures.

Ana 2021

Dancing With Otherness 2021

Maya Campbell

Dancing With Otherness expresses a collective response to the many political and ideological forces at work upon the black female body, through improvised movement, improvised music, poetry and moving image. Encompassing a full breadth of emotions in the journey within the dance, we see the unnamed protagonist start to unfold and unravel, becoming more expansive and frenetic in her movements, chaotically starting to contort as the drums and saxophone converse in increasing volume and intensity.

Coming Out 2021

Shue Kabir

The images are self portraits of me emerging from water. I used the fake foliage because I wanted the images to look ethereal, as I was inspired by sunil gupta’s pre-rafaelite series where queer people are depicted in an aesthetic manner and remind me of deities. I wanted there to be a “pretty” feel about the images, despite hearing how the lgbtq+ community is horrible and ugly from my fellow bengali community

The work shows a face emerging out of the water looking towards the bottom of the image while a trail of leaves floats across.

Coming Out 2021

Shue Kabir

The images are self portraits of me emerging from water. I used the fake foliage because I wanted the images to look ethereal, as I was inspired by sunil gupta’s pre-rafaelite series where queer people are depicted in an aesthetic manner and remind me of deities. I wanted there to be a “pretty” feel about the images, despite hearing how the lgbtq+ community is horrible and ugly from my fellow bengali community

The work shows a person partially submerged in water looking up as it comes out of the water surrounded by floating ivy.

Look How Far You've Come! 2021

Lai Lam Fave

Look How Far You’ve Come! is a series of multiple video installations featuring individual and group performances of people laughing hysterically. Their uncanny behaviour betrays a sense of contrived liberation, and likewise, a feeling of unsettled familiarity. The work explores our perpetual search for meaningful existence and questions the authenticity of our embodied emotions. In-genuity places the subjects under satirical interrogation and directive operation, as psychological turmoil takes centre stage. It begs the question: When did we learn to reinvent laughter?

A girl laughing till she becomes uncomfortable.

Look How Far You’ve Come! 2021

Lai Lam Fave

Look How Far You’ve Come! is a series of multiple video installations featuring individual and group performances of people laughing hysterically. Their uncanny behaviour betrays a sense of contrived liberation, and likewise, a feeling of unsettled familiarity. The work explores our perpetual search for meaningful existence and questions the authenticity of our embodied emotions. In-genuity places the subjects under satirical interrogation and directive operation, as psychological turmoil takes centre stage. It begs the question: When did we learn to reinvent laughter?

A girl laughing till she becomes terrifying.

Look How Far You’ve Come! 2021

Lai Lam Fave

Look How Far You’ve Come! is a series of multiple video installations featuring individual and group performances of people laughing hysterically. Their uncanny behaviour betrays a sense of contrived liberation, and likewise, a feeling of unsettled familiarity. The work explores our perpetual search for meaningful existence and questions the authenticity of our embodied emotions. Déjà Vu, a seemingly jarring set-up, recalls the uncanny experience of looking upwards from presumably a place of solace and rest. While bringing to mind the common narrative of cradle to grave, the blown-up faces back-projected onto a ceiling places the human psyche in a liminal state of disconcerting familiarity and comforting bizarreness.

A group of people laughing at the viewer from above.

Escaping Freedom A Great mind is Androgynous 2021

Bangte Xu

"Escaping Freedom" is a way for men to escape from social dogmas in contemporary society. More specifically, it is a work to explore whether males should follow the stereotypes of men or jump out of the frame that society unintentionally created. For example, when a man shows his vulnerability to others, like crying in public, revealing fear in front of people, or showing signs of grievance, the one will be preached that his behaviour is ashamed because it is against the traditional notions of masculinity in people's minds.

The work is a side on portrait of a boy wearing a black outfit with white coloured ruffles against a beige background

Escaping Freedom A Great mind is Androgynous 2021

Bangte Xu

"Escaping Freedom" is a way for men to escape from social dogmas in contemporary society. More specifically, it is a work to explore whether males should follow the stereotypes of men or jump out of the frame that society unintentionally created. For example, when a man shows his vulnerability to others, like crying in public, revealing fear in front of people, or showing signs of grievance, the one will be preached that his behaviour is ashamed because it is against the traditional notions of masculinity in people's minds.

The work shows a boy wearing a white flower crown looking downwards against a beige background. A single glittery tear is coming out of the right eye.

Are nudes the love language of COVID-19?, 2021

n00oodies

photograph disintegrating and liquefying into an abstracted state, concealing the true meaning and intent that is attached to ‘sending nudes’. The sound received in nude videos also undergoes abstraction and distortion, referencing rhythmic sound and experimental dance music. The graphic nature of the sound received is not lost, rather heightened and morphed into an engrossing pulse, mirroring and interacting with the living visual. The level of abstraction added to the images and sound challenges the instant gratification online sex often presents through pornography and sexual imagery. Instead of the very direct sexual content, n00oodies displays an almost indecipherable naked form, encouraging the viewer to immerse themselves into a prolonged experience of consumption: to try and decode the authentic body. As this practice of sending 'nudes’ has only recently developed in contemporary society, it often feels like entering uncharted territory as you are not only putting your full trust into the person you are communicating with, but also somewhat relying on the digital world. Furthermore, the psychological effect and attitudes involved with the performance is encapsulated by the short looping videos n00oodies presents, as we are making something that feels alien, become alien. Instagram: @n00oodies Soundcloud: @n00oodies_radioEmail: n00oodies.collab@gmail.com

Are nudes the love language of COVID-19?, 2021

n00oodies

photograph disintegrating and liquefying into an abstracted state, concealing the true meaning and intent that is attached to ‘sending nudes’. The sound received in nude videos also undergoes abstraction and distortion, referencing rhythmic sound and experimental dance music. The graphic nature of the sound received is not lost, rather heightened and morphed into an engrossing pulse, mirroring and interacting with the living visual. The level of abstraction added to the images and sound challenges the instant gratification online sex often presents through pornography and sexual imagery. Instead of the very direct sexual content, n00oodies displays an almost indecipherable naked form, encouraging the viewer to immerse themselves into a prolonged experience of consumption: to try and decode the authentic body. As this practice of sending 'nudes’ has only recently developed in contemporary society, it often feels like entering uncharted territory as you are not only putting your full trust into the person you are communicating with, but also somewhat relying on the digital world. Furthermore, the psychological effect and attitudes involved with the performance is encapsulated by the short looping videos n00oodies presents, as we are making something that feels alien, become alien. Instagram: @n00oodies Soundcloud: @n00oodies_radioEmail: n00oodies.collab@gmail.com

Are nudes the love language of COVID-19?, 2021

n00oodies

photograph disintegrating and liquefying into an abstracted state, concealing the true meaning and intent that is attached to ‘sending nudes’. The sound received in nude videos also undergoes abstraction and distortion, referencing rhythmic sound and experimental dance music. The graphic nature of the sound received is not lost, rather heightened and morphed into an engrossing pulse, mirroring and interacting with the living visual. The level of abstraction added to the images and sound challenges the instant gratification online sex often presents through pornography and sexual imagery. Instead of the very direct sexual content, n00oodies displays an almost indecipherable naked form, encouraging the viewer to immerse themselves into a prolonged experience of consumption: to try and decode the authentic body. As this practice of sending 'nudes’ has only recently developed in contemporary society, it often feels like entering uncharted territory as you are not only putting your full trust into the person you are communicating with, but also somewhat relying on the digital world. Furthermore, the psychological effect and attitudes involved with the performance is encapsulated by the short looping videos n00oodies presents, as we are making something that feels alien, become alien. Instagram: @n00oodies Soundcloud: @n00oodies_radioEmail: n00oodies.collab@gmail.com

Happy Ever After Now 2021

Isabel Skipp

“I Isabel take thee, Isabel, to be my wedded wife, to have and hold from this day forward, for better, for worse, for richer or for poorer, in sickness and in health, to love and cherish, ‘til death do us part. I do said Isabel..

This work is a collection of collage posters, which have a mixture of text with quotes ; including ' fuck 'em save yourself' 'i fucking do' ' happy ever after now' . Alongside images of the artist in a white wedding dress.

Forbidden Fruit, 2021

Thando May-Mtindi

Through experimentation of adorning fruit with pins and beads, these sculptural fruits came to be. Exploring femininity and the female form, and the standards of beauty and perfection that we are expected to carry through our lives, the fruit, the gems and its rotting mould symbolize these ideologies.

The work is a image of a selection of fruit, including a whole yellow melon, halved passion fruits, red grapes, halved oranges and limes with segments missing.The fruit is studded with coloured beads. Surrounded by pink flowers. The fruit is partially covered in blue mould.

Forbidden Fruit, 2021

Thando May-Mtindi

Through experimentation of adorning fruit with pins and beads, these sculptural fruits came to be. Exploring femininity and the female form, and the standards of beauty and perfection that we are expected to carry through our lives, the fruit, the gems and its rotting mould symbolize these ideologies.

The work is a image of a selection of fruit, including a halved passion fruits, red grapes, halved oranges and limes with segments missing.The fruit is studded with coloured beads. Surrounded by pink flowers. The fruit is partially covered in blue mould.

Me, Myself and I, 2021

Gaia Camattari

This project stems ideas from the theory of Luigi Pirandello. I was captivated by his theory of ‘social masks’ which explains that we perceive ourselves in a different way than others do, because we theoretically wear different versions of ourselves. This project is a combination of photography and graphic design that I applied and experimented with during the development process. The intention of these photographs is to propose this theory of social masks in which I used myself as the subject in photographs and a subject in testing Pirandello’s own theory. Therefore, investigated my own sense of different personas or ‘masks’, bringing myself in front of the camera and taking portraiture. To visually bring this theory alive, tried to achieve at least six personas which I identify within myself, later on to perform them by changing into appropriate attire to the specific persona. I used graphics on my own portrait images that reinforce the appearance of masks or ‘layers’ to ourselves, which I experimented with the use of colours and duplication. To add to the story, another set of images (preferably landscape- me in my room) are used as a support to the individual portraits portraying a narrative that will be more clearer for the audience to understand this theory. l want to present this project in a book that will also act out as flipping through the ‘layers’ or masks

The work is a video, flicking through a publication. The publication is a filled with portraits of the artist in different outfits. As a way of exploring the different personalities we express.

Desire Paths

Juliusz Grabianski

Desire Paths is a digital installation exploring the spatiality of online queer space by disrupting user interface elements used to access it. It works like a video game, allowing its users to take control of how they interact with the work. The project is an attempt to question how technology not only facilitates spatial interactions in real life, but also creates ontologically new spaces existing simultaneously in the digital and material realms. Taking inspiration from Sara Ahmed's Queer Phenomenology and object-oriented ontology, Desire Paths gives online queer spaces a physical spatiality, imagining what they might look like when everyone logs off. The project communicates ideas both in writing, and by using emojis and other visual cues, attempting to subvert traditional modes of communication. Perhaps these visual neologisms can help us express our ideas more efficiently in a non-verbal way.

Play the game

Send Her In, 2021

Isabelle Leonard

Send Her In is a multimedia project exploring the distinct feminisation of madness in our language. A language that stems from psychological, physical and verbal mistreatment of women throughout history, subsequently becoming normalised and imbedded into modern society.

The image is of a mass of black hair, with some red strands woven in, which is floating above the top of a white staircase, infront of a white door.

Happy Ever After Now 2021

Isabel Skipp

“I Isabel take thee, Isabel, to be my wedded wife, to have and hold from this day forward, for better, for worse, for richer or for poorer, in sickness and in health, to love and cherish, ‘til death do us part. I do, said Isabel..'

This work is a collection of collage posters, which have a mixture of text with quotes ; including ' fuck 'em save yourself' 'i fucking do' ' happy ever after now' . Alongside images of the artist in a white wedding dress.

Happy Ever After Now 2021

Isabel Skipp

“I Isabel take thee, Isabel, to be my wedded wife, to have and hold from this day forward, for better, for worse, for richer or for poorer, in sickness and in health, to love and cherish, ‘til death do us part. I do said Isabel..

This work is a collection of collage posters, which have a mixture of text with quotes ; including ' fuck 'em save yourself' 'i fucking do' ' happy ever after now' . Alongside images of the artist in a white wedding dress.

Desire Paths

Juliusz Grabianski

Desire Paths is a digital installation exploring the spatiality of online queer space by disrupting user interface elements used to access it. It works like a video game, allowing its users to take control of how they interact with the work. The project is an attempt to question how technology not only facilitates spatial interactions in real life, but also creates ontologically new spaces existing simultaneously in the digital and material realms. Taking inspiration from Sara Ahmed's Queer Phenomenology and object-oriented ontology, Desire Paths gives online queer spaces a physical spatiality, imagining what they might look like when everyone logs off. The project communicates ideas both in writing, and by using emojis and other visual cues, attempting to subvert traditional modes of communication. Perhaps these visual neologisms can help us express our ideas more efficiently in a non-verbal way.

Play the game

Desire Paths

Juliusz Grabianski

Desire Paths is a digital installation exploring the spatiality of online queer space by disrupting user interface elements used to access it. It works like a video game, allowing its users to take control of how they interact with the work. The project is an attempt to question how technology not only facilitates spatial interactions in real life, but also creates ontologically new spaces existing simultaneously in the digital and material realms. Taking inspiration from Sara Ahmed's Queer Phenomenology and object-oriented ontology, Desire Paths gives online queer spaces a physical spatiality, imagining what they might look like when everyone logs off. The project communicates ideas both in writing, and by using emojis and other visual cues, attempting to subvert traditional modes of communication. Perhaps these visual neologisms can help us express our ideas more efficiently in a non-verbal way.

Play the game

Desire Paths

Juliusz Grabianski

Desire Paths is a digital installation exploring the spatiality of online queer space by disrupting user interface elements used to access it. It works like a video game, allowing its users to take control of how they interact with the work. The project is an attempt to question how technology not only facilitates spatial interactions in real life, but also creates ontologically new spaces existing simultaneously in the digital and material realms. Taking inspiration from Sara Ahmed's Queer Phenomenology and object-oriented ontology, Desire Paths gives online queer spaces a physical spatiality, imagining what they might look like when everyone logs off. The project communicates ideas both in writing, and by using emojis and other visual cues, attempting to subvert traditional modes of communication. Perhaps these visual neologisms can help us express our ideas more efficiently in a non-verbal way.

juliuszgrabianski.com
Desire Paths is a digital installation exploring the spatiality of online queer space by disrupting user interface elements used to access it. It works like a video game, allowing its users to take control of how they interact with the work. The project is an attempt to question how technology not only facilitates spatial interactions in real life, but also creates ontologically new spaces existing simultaneously in the digital and material realms.

Taking inspiration from Sara Ahmed's Queer Phenomenology and object-oriented ontology, Desire Paths gives online queer spaces a physical spatiality, imagining what they might look like when everyone logs off. The project communicates ideas both in writing, and by using emojis and other visual cues, attempting to subvert traditional modes of communication. Perhaps these visual neologisms can help us express our ideas more efficiently in a non-verbal way.

Desire Paths

Juliusz Grabianski

Desire Paths is a digital installation exploring the spatiality of online queer space by disrupting user interface elements used to access it. It works like a video game, allowing its users to take control of how they interact with the work. The project is an attempt to question how technology not only facilitates spatial interactions in real life, but also creates ontologically new spaces existing simultaneously in the digital and material realms. Taking inspiration from Sara Ahmed's Queer Phenomenology and object-oriented ontology, Desire Paths gives online queer spaces a physical spatiality, imagining what they might look like when everyone logs off. The project communicates ideas both in writing, and by using emojis and other visual cues, attempting to subvert traditional modes of communication. Perhaps these visual neologisms can help us express our ideas more efficiently in a non-verbal way.

juliuszgrabianski.com
Desire Paths is a digital installation exploring the spatiality of online queer space by disrupting user interface elements used to access it. It works like a video game, allowing its users to take control of how they interact with the work. The project is an attempt to question how technology not only facilitates spatial interactions in real life, but also creates ontologically new spaces existing simultaneously in the digital and material realms.

Taking inspiration from Sara Ahmed's Queer Phenomenology and object-oriented ontology, Desire Paths gives online queer spaces a physical spatiality, imagining what they might look like when everyone logs off. The project communicates ideas both in writing, and by using emojis and other visual cues, attempting to subvert traditional modes of communication. Perhaps these visual neologisms can help us express our ideas more efficiently in a non-verbal way.

Desire Paths

Juliusz Grabianski

Desire Paths is a digital installation exploring the spatiality of online queer space by disrupting user interface elements used to access it. It works like a video game, allowing its users to take control of how they interact with the work. The project is an attempt to question how technology not only facilitates spatial interactions in real life, but also creates ontologically new spaces existing simultaneously in the digital and material realms. Taking inspiration from Sara Ahmed's Queer Phenomenology and object-oriented ontology, Desire Paths gives online queer spaces a physical spatiality, imagining what they might look like when everyone logs off. The project communicates ideas both in writing, and by using emojis and other visual cues, attempting to subvert traditional modes of communication. Perhaps these visual neologisms can help us express our ideas more efficiently in a non-verbal way.

juliuszgrabianski.com
Desire Paths is a digital installation exploring the spatiality of online queer space by disrupting user interface elements used to access it. It works like a video game, allowing its users to take control of how they interact with the work. The project is an attempt to question how technology not only facilitates spatial interactions in real life, but also creates ontologically new spaces existing simultaneously in the digital and material realms.

Taking inspiration from Sara Ahmed's Queer Phenomenology and object-oriented ontology, Desire Paths gives online queer spaces a physical spatiality, imagining what they might look like when everyone logs off. The project communicates ideas both in writing, and by using emojis and other visual cues, attempting to subvert traditional modes of communication. Perhaps these visual neologisms can help us express our ideas more efficiently in a non-verbal way.

Desire Paths

Juliusz Grabianski

Desire Paths is a digital installation exploring the spatiality of online queer space by disrupting user interface elements used to access it. It works like a video game, allowing its users to take control of how they interact with the work. The project is an attempt to question how technology not only facilitates spatial interactions in real life, but also creates ontologically new spaces existing simultaneously in the digital and material realms. Taking inspiration from Sara Ahmed's Queer Phenomenology and object-oriented ontology, Desire Paths gives online queer spaces a physical spatiality, imagining what they might look like when everyone logs off. The project communicates ideas both in writing, and by using emojis and other visual cues, attempting to subvert traditional modes of communication. Perhaps these visual neologisms can help us express our ideas more efficiently in a non-verbal way.

juliuszgrabianski.com
Desire Paths is a digital installation exploring the spatiality of online queer space by disrupting user interface elements used to access it. It works like a video game, allowing its users to take control of how they interact with the work. The project is an attempt to question how technology not only facilitates spatial interactions in real life, but also creates ontologically new spaces existing simultaneously in the digital and material realms.

Taking inspiration from Sara Ahmed's Queer Phenomenology and object-oriented ontology, Desire Paths gives online queer spaces a physical spatiality, imagining what they might look like when everyone logs off. The project communicates ideas both in writing, and by using emojis and other visual cues, attempting to subvert traditional modes of communication. Perhaps these visual neologisms can help us express our ideas more efficiently in a non-verbal way.

Bring the House Down 2021

Adam Roberts

Bring the House Down is a performative self-portrait project that explores the intersection of queer identity and a performing identity, of the social outcasts that hold a “mirror up to their society,” reflecting them back onto themselves (Dedrick 1975, p1). It aims to both entertain and amuse the audience with clownesque tricks, yet at the same time, encourage them to question their own notions of gender and sexuality.

The image is a full length shot of a man dressed up as a clown, standing infront of a blue curtain. The man is leaning to the left with his hands up in surprise.

Bring the House Down 2021

Adam Roberts

Bring the House Down is a performative self-portrait project that explores the intersection of queer identity and a performing identity, of the social outcasts that hold a “mirror up to their society,” reflecting them back onto themselves (Dedrick 1975, p1). It aims to both entertain and amuse the audience with clownesque tricks, yet at the same time, encourage them to question their own notions of gender and sexuality.

The image is of a leg coming through a blue curtain wearing a red stiletto heel.

Bring The House Down 2021

Adam Roberts

Bring the House Down is a performative self-portrait project that explores the intersection of queer identity and a performing identity, of the social outcasts that hold a “mirror up to their society,” reflecting them back onto themselves (Dedrick 1975, p1). It aims to both entertain and amuse the audience with clownesque tricks, yet at the same time, encourage them to question their own notions of gender and sexuality.

The image is of a man standing in front of a yellow backdrop. The man has blond hair covering his eyes and is wearing a white string vest with a sunflower pinned in the right hand side.

Bring The House Down 2021

Adam Roberts

Bring the House Down is a performative self-portrait project that explores the intersection of queer identity and a performing identity, of the social outcasts that hold a “mirror up to their society,” reflecting them back onto themselves (Dedrick 1975, p1). It aims to both entertain and amuse the audience with clownesque tricks, yet at the same time, encourage them to question their own notions of gender and sexuality.

The image is of a grey backdrop with a bottom painted white visible in the centre.

Bring The House Down 2021

Adam Roberts

Bring the House Down is a performative self-portrait project that explores the intersection of queer identity and a performing identity, of the social outcasts that hold a “mirror up to their society,” reflecting them back onto themselves (Dedrick 1975, p1). It aims to both entertain and amuse the audience with clownesque tricks, yet at the same time, encourage them to question their own notions of gender and sexuality.

The image is of a naked man, painted red with his arms up in a 'V' shape. He is standing infront a red curtain which is slightly pulled apart. The man has a curtain tie with tassle tied around his hips.

Bring the House Down, 2021

Adam Roberts

Bring the House Down is a performative self-portrait project that explores the intersection of queer identity and a performing identity, of the social outcasts that hold a “mirror up to their society,” reflecting them back onto themselves (Dedrick 1975, p1). It aims to both entertain and amuse the audience with clownesque tricks, yet at the same time, encourage them to question their own notions of gender and sexuality.

The image is of a blue curtain with a hand holding a bubble gun coming in from the right hand side. There are bubbles floating around in the centre of the image.

Bring The House Down 2021

Adam Roberts

Bring the House Down is a performative self-portrait project that explores the intersection of queer identity and a performing identity, of the social outcasts that hold a “mirror up to their society,” reflecting them back onto themselves (Dedrick 1975, p1). It aims to both entertain and amuse the audience with clownesque tricks, yet at the same time, encourage them to question their own notions of gender and sexuality.

The image is a portrait of a man, who is painted white wearing a dark curly wig. They are holding a yellow feather duster in their right hand. Also the man is wearing a dressing gown, blue spotted tights, a pink foil birthday sash and a gold party crown.