ABOUT
GRAPHIC DESIGN
ALICJA WISNIOWKA
ANDREW KIM
ANGELA SUN
ANGIE WIJAYA
CARLYN SOARES
CHARLOTTE KERSHAW
CIARAN BRANDIN
CONGCONG WANG
ERIC RANDALL MARKUS
FIONA LIN
GABRIELA TIRADO
HEEYEON KIM
JIAYI MA
KABITA DAS
KAYLAH HAYE
MAUREEN BURNS
YIAN ZHAO
OLIVIA WILLIAMS
SARAH CUMMINGS
SARAH PERKINS
SHARON ZHONG
SKYLER TSE
VALENTINA WICKI
WENJING LIU
PAINTING
BRIDGETTE REILLY
ELANNA HONAN
ELLEN KANELLIAS
GREY LENNON
HANMO ZHOU
KIMBERLEY ZAK
OLIVIA JAMES
TIMOTHY JAMES BERGERON
XIAN MARIE AZU-BOLES
PRINTMAKING
LEO FEININGER
MICHAEL LAUNGJESSADAKUN
SCULPTURE
BARBARA KANG
DEVIN WILSON
NINA MILLER
SOFIJA CHRONEOS
SCULPTURE
BARBARA KANG
DEVIN WILSON
NINA MILLER
SOFIJA CHRONEOS
BARBARA KANG
Thesis Book
We tend to think that memories are stored in our brains just as they are in computers. We can assume once registered, the data is stored for safe-keeping and for eventual, accurate recall. Although we may believe the facts do not change, neuroscientists have continually argued that each time we have a recollection--we are reconstructing the event, reassembling it from traces throughout the brain. Rather, memory is adaptive—reshaping itself to accommodate the new situations we find ourselves exposed to. Perception can change with each new experience, and every so often, we can convince ourselves something has happened. The more we recall, the more the memory is overridden. Memory is so malleable and fallible that it is easily subjected to being rendered to a new version so that the storyteller can be convinced that it is the truth. The transformative properties of the materials used in my work parallel the transfigurative qualities of recalling memory.
The element of time is an active part in my process. The materials used in my work—found objects, concrete, steel, plaster, copper, alginate, ice melt, salt, video projections and light—are either juxtaposed or combined and in turn, generate reactive properties. Predominantly, unexpected results of such combinations exhibit a façade of a fading, disintegrating imagery. My process and collective imagery contribute to the eventual characterization of my reflection on memories or elements of my childhood and adolescence. I hope to provide multimedia installations that offer my viewers an opportunity to empathize with my ever-changing perceptions of my past.
Due to the COVID-19 pandemic wreaking havoc in our beloved communities and disrupting daily functions, it has become a gradually taxing period as an artist to implement different tools to generate work. Using available applications and the minimal resources at hand, my “IIPH Proposal” has become a slow compilation of sketches based on past recollections and reevaluations on the notion of “home.”
Fragmentation of Memory, 2019, cement, plaster, ice melt, spray paint, copper, plastic, steel water, dimensions variable
Thesis Book
We tend to think that memories are stored in our brains just as they are in computers. We can assume once registered, the data is stored for safe-keeping and for eventual, accurate recall. Although we may believe the facts do not change, neuroscientists have continually argued that each time we have a recollection--we are reconstructing the event, reassembling it from traces throughout the brain. Rather, memory is adaptive—reshaping itself to accommodate the new situations we find ourselves exposed to. Perception can change with each new experience, and every so often, we can convince ourselves something has happened. The more we recall, the more the memory is overridden. Memory is so malleable and fallible that it is easily subjected to being rendered to a new version so that the storyteller can be convinced that it is the truth. The transformative properties of the materials used in my work parallel the transfigurative qualities of recalling memory.
The element of time is an active part in my process. The materials used in my work—found objects, concrete, steel, plaster, copper, alginate, ice melt, salt, video projections and light—are either juxtaposed or combined and in turn, generate reactive properties. Predominantly, unexpected results of such combinations exhibit a façade of a fading, disintegrating imagery. My process and collective imagery contribute to the eventual characterization of my reflection on memories or elements of my childhood and adolescence. I hope to provide multimedia installations that offer my viewers an opportunity to empathize with my ever-changing perceptions of my past.
Due to the COVID-19 pandemic wreaking havoc in our beloved communities and disrupting daily functions, it has become a gradually taxing period as an artist to implement different tools to generate work. Using available applications and the minimal resources at hand, my “IIPH Proposal” has become a slow compilation of sketches based on past recollections and reevaluations on the notion of “home.”