Identity Scaffolding

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.

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.

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.

"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.

"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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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.

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. 

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 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

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! 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! 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" 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.

"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.

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

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

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

“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..

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. 

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. 

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 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.

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.

“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..'

“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..

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 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 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 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 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 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 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.

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.

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.

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.

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.

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.

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.