Endless , 2019, digital projection, 3D animation, rear projection screen, 71x126", 10:00 min.   (Installation View)   Confronted by a suspended vertical image plane that stands almost 11 feet tall, a projection displays 2D images that fold, bend and twist as they meander at varying speeds in an endless stream. A monochromatic composition within a black void, fragmented and invisible forces affect cropped images of female bodies. Together, gravity and wind push and pull the pieces, becoming a metaphor for the ubiquitous trafficking of images in today’s digitized society. This double-sided rear projection invites the viewer to get up close, to circle around it, and to view its almost non-existent depth from the side. The appropriated images used in this animation are sourced from the Internet, found using varying keywords in image searches from files tagged with assorted words: woman, female, female body, feminine, etc. Just like the attributes of the digital image, female representation for me remains in a state of continual flux and instability. Hard to define and pin down,  Endless  displays this mystifying gesture as a sensation of visual pleasure. The tumbling, folding, and creasing images create a quiet atmosphere within the gallery, where viewers can contemplate if, how, and when these images will settle.
       
     
       
     
 Installation View -  Composed with Fragments , Anna Leonowens Gallery
       
     
       
     
   Endless , 2019, digital projection, 3D animation, rear projection screen, 71x126", 10:00 min.   (Installation View)   Confronted by a suspended vertical image plane that stands almost 11 feet tall, a projection displays 2D images that fold, bend and twist as they meander at varying speeds in an endless stream. A monochromatic composition within a black void, fragmented and invisible forces affect cropped images of female bodies. Together, gravity and wind push and pull the pieces, becoming a metaphor for the ubiquitous trafficking of images in today’s digitized society. This double-sided rear projection invites the viewer to get up close, to circle around it, and to view its almost non-existent depth from the side. The appropriated images used in this animation are sourced from the Internet, found using varying keywords in image searches from files tagged with assorted words: woman, female, female body, feminine, etc. Just like the attributes of the digital image, female representation for me remains in a state of continual flux and instability. Hard to define and pin down,  Endless  displays this mystifying gesture as a sensation of visual pleasure. The tumbling, folding, and creasing images create a quiet atmosphere within the gallery, where viewers can contemplate if, how, and when these images will settle.
       
     

Endless, 2019, digital projection, 3D animation, rear projection screen, 71x126", 10:00 min. (Installation View)

Confronted by a suspended vertical image plane that stands almost 11 feet tall, a projection displays 2D images that fold, bend and twist as they meander at varying speeds in an endless stream. A monochromatic composition within a black void, fragmented and invisible forces affect cropped images of female bodies. Together, gravity and wind push and pull the pieces, becoming a metaphor for the ubiquitous trafficking of images in today’s digitized society. This double-sided rear projection invites the viewer to get up close, to circle around it, and to view its almost non-existent depth from the side. The appropriated images used in this animation are sourced from the Internet, found using varying keywords in image searches from files tagged with assorted words: woman, female, female body, feminine, etc. Just like the attributes of the digital image, female representation for me remains in a state of continual flux and instability. Hard to define and pin down, Endless displays this mystifying gesture as a sensation of visual pleasure. The tumbling, folding, and creasing images create a quiet atmosphere within the gallery, where viewers can contemplate if, how, and when these images will settle.

       
     

 Installation View -  Composed with Fragments , Anna Leonowens Gallery
       
     

Installation View - Composed with Fragments, Anna Leonowens Gallery

       
     

Installation View