Antwerp, Belgium, New Years 2014- ongoing project.
My Babushka was recently diagnosed with Alzheimer's disease. I first visited her in her apartment in Antwerp and then in a nursing home nearby where she currently lives.
Despite her disease and everything she has been through in her life, she remains stronger than ever. A true source of inspiration.
Porterhouse by Laris restaurant in Hong Kong
Apartments for Barnes Luxury Real Estate in New York
Osanna Madina Visconti atelier in Milan
Redball project in Minnesota for artist Kurt Perschke
I have long been drawn to the beauty and ingenuity of man-made structures and their artistic representations. Attraction turned to awe when I first moved to Manhattan to study at Parsons the New School for Design. I had already traveled extensively by that time, but nothing could compare to New York where architectural diversity and chaos could also feel astoundingly harmonious.
I spent my undergraduate experience learning to photograph architecture from a fine art perspective. Throughout my development as an artist, I was and continue to be drawn towards optical illusions that can marry false senses of depth with visually impossible structures; I found that my most exciting work in college involved deconstructing and reconstructing the experiences of space, mostly by the creation of interactive collages. Abstract photography’s ability to arrest the viewer, inspire curiosity, and generate alternate modes of perspective is integral to the medium, and the subversion of an audience's spatial expectations continues to be the mode that defines my practice. Through this act, I am free to explore various means of representation while developing new visual codes in the tradition of neo-impressionist and cubist theory. My senior thesis therefore sought to further push the constrictive boundaries of presenting 3D objects on a 2D plane.
Process and technique
Learning to use 3D modeling software in my practice broadened my spatial understanding of depth and form, inspiring the basis for my thesis. In 3DsMax, the lathe tool creates a 3D object by rotating a shape about an axis- allowing for the deconstruction and reconstruction of spaces to form endless combinations. Because of the seemingly infinite possibilities, I needed to find structure and set boundaries in order to find the most objective way to correlate the initial photograph to the 3D model. First, I chose only contemporary buildings-- such as Frank Gehry's A-- then captured them on 120mm film using similar angles. Then, in 3DsMax, I traced the outlines of the imaged buildings and lathed them, so as to create a digital object from the axes. The resulting geometry of the object and of the building were thus intimately related, yet bore no obvious resemblance.
This process resulted in diptychs: an architectural photograph and the traced digital object made through the three-dimensional software. The way to present this 3D object trapped in a 2D plane became clear by the end of this process: the actual printing of the digital objects. Once the 3D models were printed as small sculptures, the loop was closed and the project began to make sense: the culmination of the thought process was a three-dimensional building, flattened into a two-dimensional photograph and finally back into a three-dimensional sculpture. The resulting sculptures, while formulaic in some sense (the same digital tool utilized repetitively on similar structures) was nonetheless highly contingent upon a wide array of variables: most notably, the fragmentary nature of the images themselves and the mysterious moment between their composition and their 3D representation. Ultimately, the concept was to conceive of the photograph not as final product but as inspiration. In this case, for the generation of sculptural objects.
In my presentation of this project, I added a third component to help the viewer make the connection between the photograph and the sculpture: the image of the 3D model screenshotted from the software. I chose to show just its skeleton (the wireframe), as it only exists within that elusive space between 2D and 3D (thus “2.5 D”) and in doing so bridges the gap. The final form of the project was then presented as triptychs: the architectural photographs, the images of the object’s skeleton, and the 3D-printed sculptures in a grid. The images were monochromatic and framed, while the sculptures were printed in white and placed onto floating shelves, creating a sense of unity across the mediums. The final grouping, taken as a whole, sought to invoke both harmony and disharmony, giving the viewer the opportunity to contemplate the relations- both real and imagined, familiar and foreign- between the discrete representative forms.