you're not (t)here

Junior Exhibition

2016

you're not (t)here exhibited at the Chan Gallery, Pomona College, Claremont, CA in April 2016. The exhibition pursued the notion of being in-between spaces and the process of documenting these experiences through four installation works in conversation with each other.

Overview

you're not (t)here exhibited at the Chan Gallery, Pomona College, Claremont, CA in April 2016. The exhibition pursued the notion of being in-between spaces and the process of documenting these experiences through four installation works in conversation with each other.

Results

you're not (t)here exhibited at the Chan Gallery, Pomona College, Claremont, CA in April 2016. The exhibition pursued the notion of being in-between spaces and the process of documenting these experiences through four installation works in conversation with each other.

(t)here. Latex paint, security cameras, iMac. 2016.

(t)here

(t)here focuses on the phenomenon of not understanding where one is. Two opposing walls are painted green and blue, with security cameras recording each wall, respectively. A monitor placed in front of the walls displays the recorded footage. Two variables manipulate the viewer's perception of time and space: One, the video feed is delayed by 8 seconds of latency, positioning the viewer as both the subject and observer of their own body. Two, image processing swaps the color displayed on each monitor to the color of the opposite wall, respectively. This causes the video to appear as if it is happening in front of the other colored wall, further displacing the viewer. The delayed "live" video feed becomes in itself a real-time record of the present.

(no)records. Chairs, photo backdrop, strobe lights, digital prints, vinyl lettering. 2016.

(no)records

(no)records examines the bureaucratic ironies in the US immigration system. The overly present notices at Biometric Application Support Centers prohibiting various activities, including recording and photography, inspired the installation. Chairs sourced from a government surplus auction are placed in the middle of a photo studio setup to probe the idea that a person subject to immigration is forbidden from keeping any records of the facility where biometric services are conducted in order to create official records of the person.

(house)home / objects with barcodes. Construction materials, digital prints, objects. 2016.

(house)home / objects with barcodes

(house)home / objects with barcodes is a sculptural drawing made up Home Depot sourced building materials with objects and photographs originating from Poland that were kept after immigrating to the United States in 2002. The arrangement uses barcodes as records of the objects in juxtaposition to building materials as records of a house, seeking to find the intersection where products and their documentation either strengthen or diminish the conceptual and emotional construction of a home.


record (i & ii). Digital prints 2016.

record (i & ii)

record (i & ii) extends the meanings of the word to include vinyl records originally owned by my parents back home in Poland. The spines of Synchronicity by The Police and Tainted Love/Where Did Our Love Go by Soft Cell are photographed and enlarged to 48 x 6 in.