CONGJIA JIN, GD MFA 2020 Congjia Jin, a research-oriented designer who embraces graphic design, strategy and technology. Her practice focuses…
This project is a recreation and interpretation of Iannis Xenakis’s stochastic synthesis model as proposed in Formalized Music and featured…
Singapore’s endeavor to reclaim land is paradoxical: it occupies large areas of existing land to store sand for more land to be made, creating sand “mountains,” incongruous to, yet surreal in, Singapore’s landscape. Sand Reserve Museum is a speculative museum showcasing these sand ‘mountains’ as beautiful works of nature to the public.
An Ontology Dinner is an offering to our ancestral and future environment captured through a cyclical, non-hierarchical system, creating new food myths to provide a contemplative mirror to view the ways in which humans and non-humans are entangled and imagine a symbiotic future world.
I’ve started a doomed effort to create a situation exploring the relationship between art and intent, and how I can escape the responsibilities of intentional art. This project can’t succeed because I can’t actually remove my intent, but creating a flash that fires randomly (to capture attempted flight) is how I’ll mitigate it.
Can you manufacture love for an object? Affinity aims to test this question by presenting the viewer with a synthetic version of the beginning of a relationship with an object. By concentrating the key experiences of meeting an object one could love, the relationship could be accelerated – and in turn manufactured.
In Sound Bath for News, Anjali Nair focuses on the recent amplification of the aural, tonal and visual volume of primetime news in India that can only be described as outfoxing the Fox. Anjali explores the use of a sound bath, a westernized version of a meditation technique using Himalayan singing bowls, to calm the news.
In Memento Vitae, McKenzie borrows from the practice of mourning jewelry to create a set of adornments that pay tribute to three faltering habitats: forests, coral reefs, and glaciers. Through the intimate act of donning each piece, users redefine their relationship with damaged ecosystems, channeling ecological grief into a tactile object while celebrating its beauty.
Close isn’t Home is a digital art platform created to dissect cross-culturalism, generational heritage, and identity. The website depicts transcendental environments, embodying digital intangibility in relation to physical space and nostalgia. Grace Kwon and Samantha Vassor emphasize upon the digital empathy by connecting diasporas in a responsive forum.
This performance showcase stages from having a limitation created by a collective experience to losing it. This piece is a metaphor for how boundaries can give things shape but also restrictions and how freedom is liberation but also brings uncertainty.
This piece invites you to join in a collaborative musical experience. These instruments (using analog circuitry and coded micro-controllers) are intuitive to play and remove the fear of failure. Through their ease of use, they remove barriers, dispelling the notion that one must be musically-inclined to create music.
FAKEAT is an online fake food signage generator. It reflects the coexistence and conflict between Chinese culture and Western culture in American society. Participants in FAKEAT can choose one of the four Chinese characters “文化共存” (cultural coexistence) to combine with their favorite Western food to create interesting fake food signage.