Simulations Work In Progress Trailer

Featured works:

Confession Box

The face of a man, mid-confession, materializes over the doors of a medieval altarpiece that unfold as we approach. On display are archetypal images of rebirth and decay: a mother and child to the left, a time-lapse image of flowers to the right and, in the center panel, a looped recording of a young man, in an idyllic setting, throwing a ball to a dog.

The Private Life of Public Transport

A portal within Confession Box leads to a darkened space containing a partially rendered, life-size London bus — its driver and passengers missing. As we walk around the vehicle, the voices of the missing passengers can be heard, spatially positioned, confessing their secrets and private thoughts. “Internal monologues replace the bus passengers — in a sense, filling the visual gaps in the object.”

But There Was A Presence In The Room 

A fractured record of impermanence, this volumetric image of an elderly man reflects both the imperfections of data capture, and human memory’s gaps and distortions. “I’m interested in the sculptural reproduction of human fragility… and the way that a video image can intersect with an object, and open an aperture into the living past.”

In The Garden of Circular Motion

Still lives of roses growing and dying, heads lolling or slowly raised, this three-panel piece suggests that memory and perception are fluid, and alter as our relationship to the subject changes. A symbol of transience during the Renaissance, flowers in these virtual lenticulars remain in constant flux, animated by the movement of the viewer.

Transformations 

In a choreographed sequence set across three panels or stages, figures and objects materialize, vanish, and merge. Two figures at the emotional center of the work — possibly a mother and daughter — find themselves bound together, then separating, in an endless drama of repetition. Extracting a sculptural form of the two figures from the video sequence, we are able to explore its molecular structure, suggesting that both human experience, and its virtual record, are composed of electrical impulses.