CONTENTS
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03 | FAUSTO SANMARTINO
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COVER | ROYCE ALLEN HOBBS All right reserved. This production and its entire contents are protected by copyright. No use or reprint (including disclosure) may be made of all or any part of this publication in any manner or form whatsoever without the prior written consent of Made in Mind magazine. Views expressed in Made in Mind magazine do not necessarily represent the opinions of the editors or parent company.
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FAUSTO SANMARTINO
Tell us a bit about your  background. I was born in Italy in 1982. I studied at the Fine Arts Academy of Turin where I started to explore material and space developing mix media installation. In  2012 I decided to move to London to expand my view on contemporary art ,to be involve into different art scene. What does being an artist mean to you? It is not just about being an artist. What makes the difference it is to be a serious artist, pushing borders, moving forward to discover new territory all the time. Could you describe us your process, how do you begin working on a piece? It is quite tricky because my artistic process, my approach, it is never the same; I follow intuitions that very often are influenced by time, space, emotion and feeling. I start to concretise my ideas into the space and that I do something else that is influenced by the location but also from my last action, I can say that it looks like a chain reaction.
Presence (detail) site-specific intervention into my studio space black color on concrete 2015
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Condotti Installation Fine Arts Academy,Turin-Italy lace fabric, metal pipe 2008 04 | MADE IN MIND
Condotti Installation Ex chiesa di San Carlo dei Barnabiti, Florence - Italy lace fabric, metal pipe 2008 MADE IN MIND | 05
What subjects do you deal with in your art? My work deals with the relationship between light, colour, material and location. What I am try to do is to balance myself with all of them. I am someone who create images in relation to the space. Intuition, feeling, experiment are the starting point where everything comes up, where elements take a position to become something else. For certain project I create installation in which people can have a direct experience. Is the case of One way that consist in a theater curtain repeated three times, the viewer was invited to through it. My artistic practice wants to be an experience for me first but also it can be share with the viewers. What other artists or other individuals most influence you? Actually I think that everything I see and experience in life influence my art in some way, directly or indirectly and probably every day’s life is what makes more difference in my art practice. In other way I remember very well the Franz Kline’s retrospective in 2004 (Castello di Rivoli, Turin-Italy) it was during my school period. it is probably the first time that I get lost myself in to the painting. Tell us about Wall with presence I like to think about Wall with presence as a live sculpture. My work is often in response of the space where I am working. At that time I changed space studio with another that was quite different for size and for source of light. I did not have any more windows and natural light that have been previously part of a series of work.
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Souvenirs Installation site-specific Palazzo Madama -Turin-Italy charcoal,found objects 2009
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Reflection III photographs on Hahnemuhle photo Rag Pearl. 29.7 x 21 cm - 11,6 x 8 inches (each) 2014
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When inside is still dark night Installation giclee print on Hahnemuhle Museum paper 42 x 29.7 com- 16.5 x 11.6 inches 2014
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In Wall with presence I used the exiting wall to create a new surface with black bag in front of it . At that time I just wanted to figure out an escape way and followed intuition I found an amplification of feeling of that time spend into the space. What about Attese ? Attese is a result of previous site-specific intervention on wall exploring the white space in front of me. Specifically I used the wall instead of canvas which gave me the opportunity to operate in a sculptural way to discover a pictorial surface. Every steps came up as a chain reaction. After the first
intervention calls Window I decided to take a shot of my-self in front of it to start a dialogue. I wanted to make a frame of that specific moment and it looks like when you have a conversation with yourself in front of the mirror. After I carried on with the same wall driven to the situation, pushing the exchange in act. Can you talk about Souvenirs and the idea behind ? Souvenirs is a site-specific installations that I created for the Veranda sud of the historical Palace build by Filippo Juvarra in
Attese Lambda print on dibont 50 x 35 cm - 20 x 14 inches (each) 2010
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Wall with presence Installation giclee on Hahnemuhle photo rag pearl 2015
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Turin. The work wants to play with the location; specifically to the decoration of the vault and the mixed profile that outline the luminous find of the eighteenth century frescoes overhead. It became the borders of the floor that delimited, as in a mirror, a charcoal’s carpet with found object, materialising the re-emergence traces from the past. What is the role of the artist in today’s society? I think that nothing changed, his role is still to comunicate his ideas that range from personal feeling, social, political, religious etc. It is what make people see and think about things differently, giving a step to look forward. What are you working on at the moment? At the moment I am focusing my attention to examine and reprocess connection between light and shadow, between void and filled spaces, through presence and absence of something that is perceived into the space where I am working in. I think that work in location is what give me a new oxygen to breath and feel myself into a new way of acting. It is also the starting point where I can takeover creating new situations and start a new dialogue.
Window Installation glass, wood board, 190x70x80 cm 75x27.5x31.5 inches 2011
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Fausto Sanmartino was born in 1982 in Italy. Currently lives and works in London UK. He study at the Fine Art Academy of Turin (2009) where he obtained an excellent background in Modern and Contemporary Art experiencing several art expression and taking part in several art exhibition nationally and internationally. His work involves different range of media such as installation, live sculpture, photograph, drawing. Intuitively his approach is often in response to the space where he working in. He brings into the space different kind of materials, frequently part of previous work, elements
Another night is back ( Detail) Installation Crumpled paper,chrome rod,black pigment, 160 x 10 x10 cm - 63 x 4 x 4 inches 2015
found on site or common things associated with architecture and construction work. Material such as glass, wood, fluorescent light that are often set up together in state of balance, creating installation that operated visually and spatially. In fact he consider the space as a starting point where light, material and object are able to create new situation , open new dialogue giving us a different reflection. faustosanmartino.com
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THOMAS GARNON What are the most important influences that have moved you as an artist? I grew up in a very rural area of Pembrokeshire, West Wales. It’s known for its vast coasts and mountainous terrain, and so the landscape has always been an integral source of inspiration for me. I was a very curious child and spent most of my time exploring different landscapes, and as a result am very inquisitive of my changing environments. This upbringing had a great influence on my sensibilities as an artist. Even now, I am constantly searching for new ways of perceiving my surroundings, using nature as the main protagonist. I also come from a very artistic family; both my grandparents are artists, so from a very early age I was constantly being exposed to galleries and museums. I remember the first time I saw Monet’s water lilies at The Musée de l’Orangerie in Paris; this blend of architecture, light, and colour, had a profound impact on my artistic identity.
Untitled Installation Detail Silver Metallic Paste on Hardboard, Flowers, Glass Vase 2014
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How would you describe your work to a complete stranger? The aim of my work is to challenge my own interpretation of place. Working across site-specific installation, drawing, and photography, my works are often subjected to the effects of time – changing, evolving or visible only at specific times of day. Using subtle methods of intervention and abstraction, patterns rhythms and formations are created organically becoming unique recordings of ordinary daily events. How would you best define your approach to abstraction? Abstraction has always been a means of creating a new level of awareness for me. Over the past few years, I have found myself becoming more and more interested in abstracting my own understanding of the familiar in relation to my surroundings. Approaching this subject with a lightness of touch, I use it as a method of creating imagery that gesture to its origin, but also allows for a more fluid interpretation on behalf of the viewer. What artists have influenced you? When I was in my final year of university, I came across the work of Edith Dekyndt. Dekyndt is a Belgian artist who works across a wide range of materials and mediums, including painting, video and installation. What drew me to her practice was her relationship with time, and how this can be manipulated to be a prominent feature in a works interpretation. Time, and the duration of a works existence, is a prominent feature in much of my recent work.
I’m fascinated in the possibility of a piece of art continuing to evolve even after I have taken time away from it. Time in this instance, is the mark maker, and the materials are a catalyst. Tell us about your site specifics, how the environment interacts with the work? I have never had any specific set of rules that I think of before installing a piece of work in the landscape. If I can, I like to spend as much time as possible in the space so I can gain a proper understanding on what might work well there. The environment has always had an integral role in the success of an artwork; it isn’t simply a location for a piece to sit in, but rather what activates it, and brings it alive. In my most recent series, architecture and light are fundamental in bringing awareness back to what already existed in the space beforehand. How has your work developed throughout the years? Over the past few years I have found myself becoming more self-critical on what I create and put into the world; because of this I have been developing a more refined and subtle aesthetic approach. Early on in my career I was focused on making work in a very documentarian style, re-telling a story or event using video and installation as a method of capturing a very specific moment in real time. But recently I have found myself developing on that methodology, using everyday materials and constructs; I focus on what already exits in a space, rather than filling the space with more objects. Using materials
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that seem part of its original environment, I hope to create situations in which the audience can gain a heightened experience from a commonly viewed object or event. Could you talk about In the Offing (Surface Cloud) and the idea behind? In the Offing (Surface Cloud) is a site-specific installation that I created during a residency at the Aldeburgh Beach Lookout, Suffolk, in 2014. This was the first time I had experimented with largescale environmental artwork, and I was very interested in exploring the possibility of creating a piece of land art that could exist temporarily but also move in synch with the turbulent environment it was situated in. Using materials that were readily available to me, I created large gestural marks resembling cloud formations onto the shore using seawater. Utilizing the high concentration of salt in the water, these formations would begin to evaporate and fade over the course of a day, and then overnight when the moisture in the air became
In the Offing (Surface Cloud) unique work, installation view at Aldeburgh Beach, seawater on stone. Captured at 1pm 2014 Temporal and impermanent site-specific interve tion made during my residency at AldeburghBeach South Lookout. Through the chemical reaction, Hygroscopy, where natural sea saltabsorbs water in the air, gestural marks are made on the shore using sea water. Formations appear and disappear depending on the moisture in the atmosphere.
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Untitled Continuing series Unique site-specific event, oil based silver pigment on paper - displayed as giclĂŠe print on hahnemĂźhle rag paper 2014
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Untitled Continuing series Unique site-specific event, alternative view. oil based silver pigment on paper - displayed as giclĂŠe print on hahnemĂźhle rag paper 2014
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denser, the salt would absorb the water back into itself and the formations would begin to reappear on the ground, though hygroscopy. This play on longevity had a lasting impact on me, and resulted in the body of work I am exploring on at the moment. What are you working on now, and what are your plans for the future? Over the past year I have been exploring the possibility of my work self-creating its own visual imagery. By engaging with materials that utilize the surrounding environment, I am manipulating my works so that they will continue to develop their own pictorial identity with no need for further physical interaction on my behalf. These works can continue to evolve for an unprecedented period of time, constantly moving in synch with the topography of the surrounding area. Subtle in appearance and often blending in with the architecture of the building, these small-scale installations use clear frosted vinyl as a material for abstracting; blurring landscapes that appear beyond the window pane into a series of unique painterly formations of light and colour. With every nuance of light the image changes, each composition may only exist for a short period of time before fading away. Therefore these works sit within a constant flux, moving between the seen and unseen; requiring time and patience to be viewed they challenge the contemporary idea of instant gratification. Untitled archival pigment print on paper. 2014
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Untitled (FW.1) Unique work, installation view, clear frosted vinyl on glass, dimensions vary on installation Image was captured at 9:30am 2016
Untitled Installation View Silver Metallic Paste on Hardboard Flowers.Glass Vase. 2014
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Thomas Garnon (born 1990) is a Welsh artist working between London and Wales. Working across site-specific installation, drawing, and photography, Garnon explores the boundaries between perception and place. Using readily available materials, he aims to create temporary interventions that engage with the surrounding environment, activating a new level of awareness for the viewer. Since graduating from his Bachelor of Fine Arts Degree from Central Saint Martins in 2013, Garnon has continued to exhibit his work both in the UK and internationally. Previous shows include: Nes Artist Residency, Iceland, 2016; The Awe of the Other, Suffolk, 2014; Show 1, The Granary Building, London, 2013; Co.Lab 5, Summit Gallery, London, 2012; to name but a few. thomasgarnon.com
Untitled (Rain Drawing #1) graphite and rain on paper 29.5 x 34 cm -11.6 x 13 inches 2013
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ROYCE ALLEN HOBBS
How did you get into art and what are your artistic influences? I have been making art for as long as I can remember beginning with drawing, and then later, removing myself almost completely from conventional artistic practices, to a more focused attention on bonsai and blacksmithing well into my mid twenties. For many years I gave up the pursuit of art; believing there was no place for it in a spiritual practice, which I was immersed in at the time. The only thing that brought me back was stumbling upon the conceptualists: Kawara, Brouwn, Opalka, Kosuth, among many others. Seeing works by these artists completely reshaped my understanding of the world around me. The influences in my work, I feel, come from a longing to dive deeper into the authenticity and mystery of our predicament‌questions, I suppose, pertaining to the enlightened state, suffering and the evolution of symbiotic relationships. What has always fascinated me is the space in which artists exist; we can easily stare for hours if adequately in tune with that space into tapestries and dull textiles, or the legs of a wooden chair and be content with their intimate qualities. But, at the same time, be displeased with the current systems surrounding their placement within society.
When and how did you begin performing? I began performing in death metal and straightedge hardcore bands as a vocalist in my late teens into my mid twenties. Although the passion and closeness that emerged from the dark venues, was like nothing I had ever seen before, it was the violence and hatred that appealed to me. There was deep love and compassion right out in the open, an all-in-one collapse of conditioned logic, to me; this was art-disintegration, and aggression. After leaving the metal scene, and experimenting with hallucinogens, I began work on biological locomotion, fixated within the context of art, through my performances with mushroom spores. Tell us about The Garden performances. In The Garden, I wanted to demonstrate our inherent ignorance when dealing with drug use in western societies, and perhaps, form a commentary surrounding the truth of machinery for higher orders in nature. They are an ongoing series of solitary nature walks, in which, I use my body as a vehicle for psilocybin containing mushroom spores. They came about from my interest in some of the pioneering land artists or artists who worked within nature
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POppy Fields Sculpture Corridor signage 2014
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in the 60’s and 70’s, such as Hamish Fulton and Richard Long, and a few others, that would present text based wall and book works describing the experience of walking and being in nature as potentially a new art form; putting emphasis upon the experience, rather than commodity. This fascinated me, and opened up a world of possibilities. No longer did I feel the need to attach myself to the conventional studio practice. How would you describe your subject matter? I like to see it as a total collapse of self; of expectations, and a predetermined trust in art’s ability to function or influence according to stature; the grandest blunder of consequence. There are many themes and premises that can be used to describe my work, but the only one understood by myself would be ego-death, and a general distrust in academia. I am an advocate for people of knowledge, not simply ‘knowledgeable’ people. But somehow, it always manages to find it’s way back to the surface the cultural façade and we are left with the robbery of ‘Is-ness’, of ‘Being’. we are left with the robbery of ‘Is-ness’, of ‘Being’. The problem is, we ought to see the folds in our trousers and dresses as infinite and sufficient in their Suchness, but we never do. It is humbling to me; if I am in New York and
see a piece by Duchamp, or maybe an Andre, to ask myself how it would make me feel if that was the only reason I came to New York. There are many vistas to be explored in these spaces, but in my mind, and in my work, ‘disappointment’ seems to be the only beneficial model to be engaged in to allow me to get to the substance of art. The truth. Could you talk about your interest in relationship-confrontation with nature? Relationship is nature. Every flower and tree on Earth has made a pact with some sort of separate entity, in order to assist it in transporting valuable information faster and more efficiently than they can from one point to another. The ferns use the wind, or the passing of a rodent, to spread their spores all over the forest floor; some spores travelling thousands of miles before establishing a new population in a new forest. Whether the rodent is conscious of this pact, their roles as couriers is what I am concerned with. How do you transport the idea to the object? The idea is already infinitely the object. I open myself to it and present as much as I can. I try to stay away from being to abrupt with presentation because real epiphanies seem to always be right in front of our faces,
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THE GARDEN, PANAEOLUS CYANESCENS SPORES DISPERSED VIA WIND Performance Haleakala Crater on the island of Maui September, 19 2015
hiding in ‘plain’ sight. And it never has a description sheet or treasure map. This can be very difficult, and in turn, requires a great deal of time and work, the very thing I criticize in my work. Can you talk about the knit sweater series and the idea behind it? The knit sweaters contain spores from selected psilocybin contain mushrooms, each sweater hosting a different species listed in the title of each work. This is an ongoing series that, similarly to The Garden pieces, are also a critique of western drug policies. The basis being, uninformed scheduling of an extremely beneficial medicine into criminalization leaves me, and millions around the world, with a healthy distrust in the propaganda being fed to us through media and mouths of egotistical politicians. The ready access to information we have today has given knowledge back to the people. And the more the governments try to repress this information, the more they themselves reveal the hypocrisy. Some of the best places to find hallucinogenic mushrooms are right out front of courthouses and police buildings. As the police try to punish the so called ‘criminals’, the spores from the mushroom, or ‘drug paraphernalia’ as they call it, are already attached to the clothing and evidence bags of the actors in this absurd drama, finding the perfect substrate in
PSILOCYBE SWEATERS #1 Installation Psilocybe Stuntzii spores, knit sweater 2014
PSILOCYBE SWEATERS #2 Installation Psilocybe cyanescens spores, knit sweater 2014 PSILOCYBE SWEATERS Installation Psilocybe Cubensis spores, knit sweater 2014
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THE CHILDREN Installation Mask, cot, sprouted potatoes
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the landscaped mulch beds surrounding the government buildings. By trying to suppress it, they cultivate it.. When people see the sweater works, they are not only seeing a sculpture, that they may or may not use in their life after leaving the gallery context, but they are also taking with them the perfectly legal spores of a consciousness expanding mushroom, criminalized by the very system they are told to trust; a double narrative, seen only if there is an adjustment to the common perception of scale. An Everest within your hand, as it is. What role does the artist have in society? To be a mirror for the public; to impose primed mythological structures and mystery upon objects alleviating suffering. I also think it really just depends on what kind of work you happen to be making at the time. The folds of draperies lit by morning sunlight will always contain within them, a wilderness of perpetual modulation, and it’s the artist’s job to live in these spaces of light and darkness, to reveal the utterances of those wondrous states.
I NEVER FEEL ANYTHING ANYMORE Performance A sound piece performed in the fall of 2014. Originally composed to be a sound installation, with a polaroid photograph of a cherry blossom tree in bloom projected upon the wall. I decided to perform the piece on two separate occasions in Seattle, to be recorded onto a single cassette tape.
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The Ancestors Sculpture Pipe, satin paint 2014
By incorporating the multidisciplinary studies of western ideology and eastern philosophies, Hobbs ‘work continues to delegate the visionary archetypes that preside within postmodern societies showcasing his work in a way that steers the public’s attention away from unethical logic structures into a diverse awareness of the archaic customs of past civilizations. Adopting conceptual and minimalist conventions, Hobbs distinctly feels each piece is devout in provoking the synergetic potential between humankind and the plant kingdom. Throughout his dharmic influenced practice, he has shown strong advocacy for allegiances to obscure plant medicines as tools for personal growth and
introspective vocation. Using ephemeral materials , such as plant matter, mushroom spores, and dehydrated animal limbs, his work continually demonstrates the delicate relationships we form in all biological systems, and how they can mislead economic and social aspirations. Now, with a better understanding of human subjugation, Hobbs works with within nature and galleries around the world using installation, sculpture, sound and happenings. royceallenhobbs.com
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GUANG ZHU
What initially inspired you to start making art?
mathematics that is not only about solving problems
I started making random things when I was very young. I was fascinated with the colors from grandma’s fabrics, sounds of the piano, houses and streets, and clothing that my parents wore.
for tests. While in art school (NSCAD), I was trying to include my studio practice closer to modular objects/ movements, algorithms-like process, and some logical narratives. Eventually, I felt like I hit a dead end as I didn’t know enough math and computer science to experiment with. Many years later, I started grad school at NYU, ITP. It opened a whole new door for me to learn how to code and how to design a data pattern. I sort of forgot about the art for awhile and spent lots of time doing research on parametric equations and learning tons of computation in general.
How would you describe your subject matter? Currently, the subject matter is mostly based on parametric equations and the hybrid experiences built by the preciseness of computing mathematic operations to express a sense of alienated wonder. Historically, there are artists/musicians/architects creating pieces that are geometrical yet brings this multidimensional sense of wonder. I still do not know how to describe it, but I am sure we sense something similar. I am trying to find the most fair way to present those equations without too much influence on my emotiontheir complexity, their ability of endless motions, and their powerful yet peaceful aesthetics. When and why did you start to use mathematics and geometry as research for your work? I liked mathematics in school, and I especially loved to solve problems that involves geometry with formulas. I wanted to know if there is another way to work with
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What is your working process like? How do you get from idea to final product? While at grad school, the inspirations were are all about the parametric equations that I researched from old books (a few of them weren’t checked out of the NYU library since the 90’s). People who wrote those books are fascinated by the equations in a similar way as I am. Those books never made it to the popular stage, but hey, at least there are still historical relevance to it! I would start coding a simple static equation I found and then started adding time/space to them, but I try
Love Story In The National Park Video - duration 9:41 2015
Music Notes #4 woodblock prints segment of music visualization based on the equation inspired by the Cardioid Equation. 76 x 63,5 cm - 30 x 25 inches 2014
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as much as possible to stay close to itself. I have no intention to elaborate them at all, just to try my best to present a possibility of life. Each of them have infinite possible lives. The work evolves like that which influenced very closely to my research and my coding skills. Could you tell us about Moon like? Moon-like was created in Hawaii in 2013. I was there for a friend’s wedding. The night sky was clear, evasive and complex. I was too scared to walk around the beach by myself, so I sat in the hotel room, and starring into the ocean with moon over it for a long time. I started coding… I don’t remember how I started the foundation equation of moon-like. Usually a equation starts with a very simple skeleton of a system that I have in mind.
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I tried a process to layer up the equation - ex: 1+1=2 is a basic layer, but I can add a layer as (1+1) + (1+1) = 2ish something. I spent a while coding and finding the error of code and equations. It was almost 3:00am until I was happy with the results. I didn’t expect to make a moon-like series, and I guess I named it because of this ocean - moon accident? What has influenced your work? The abstract/minimalist art movement and conceptual art movement really influenced me early on. After the phase of being an art school kid, I realized there was a whole world out there, such as economy, politics, etc. Now I feel too disattached to even be able to remember all the artists names that I used to be obsessed with (Apologies). During grad school, I have read many books by Ian Stewart (Mathematician), and many older papers with the topic of mathematics/philosophy.
What about Music Notes series? Music notes series is still in the mist. It is not done yet. When I started research into the parametric equations, sound frequency related topics do come up sometimes. Imagine Google searching “dog�, but sometimes there are cats and birds that comes up, too. I read some of them, and sort of made my hypothesis that what if my art is a music note, or chords. As a science method, the research now can be done backwards to generate a music note related math form and analyze this form relatively. I programmed a sketch that takes the sound from the microphone and then transfer the arrangement of this data to something useable to my equations. There is a map function in math and in computation that can transfer an arrangement of numbers to another arrangement. I did some testing with music from my computer and of me actually playing the piano. It turned out the piano sound that forms is somehow smoother with the sketch code. There are thousands of frames, but I picked few that I liked more and made the print. There is something very magical and poetic about capturing the sound and engraving it into wood, and pressing it onto paper. I really love it, and hope I will have some free time to keep working.
Music Notes #4 woodblock prints segment of music visualization based on the equation inspired by the Cardioid Equation. 76 x 63,5 cm - 30 x 25 inches 2014
Music Notes #2 woodblock prints segment of music visualization based on the equation inspired by the Cardioid Equation. 76 x 63,5 cm - 30 x 25 inches 2014
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Music Notes #1 wood plate itself segment of music visualization based on the equation inspired by the Cardioid Equation. 76 x 63,5 cm - 30 x 25 inches 2013-2014
Music Notes #1 woodblock prints segment of music visualization based on the equation inspired by the Cardioid Equation. 76 x 63,5 cm - 30 x 25 inches 2013-2014
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Moon_like Print design of equation 2014
Moon_like Print design of equation 2014
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5 you and Print Woodblocks paper 2013-2014
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How has your work developed throughout the years? My work is like a map of my “spirit”. The work is still based on mathematics and code, but my mind is more clear. I guess the difference between the juniorartist-self and the more-experienced-artist’s-self is how long it takes to know what I’m drawn to, and how much I understand about that drowning. Now I wonder less, which is a HUGE relief as a normal human being! Since I spent 7+ years learning art and practicing making art, I have a sharper brain to process the mist of ideas and subconsciously plan out a path on how to start a series, acknowledge the randomness of the inspirational dots and the legit stuff I need to explore fully. It is still difficult and mind-challenging, but at least I know it is part of process. What are you working on at the moment? I just published an article on those alienated feelings about equations on OrDoesItExplode and I am trying to work with TimeSquareArt movement. Mostly, I am focusing on getting a full time job as an iOS developer. I want to take a physical break from my art practice for awhile. I think it is a healthy thing to do for me, I am not worried my art will not come back. It is part of me no matter what I do. I know some big artists don’t approve of making art on the side. I just want to take care of myself first, is there anything wrong with wanting decent health care and a comfortable coach for when you want to sit?
5 you and Print on Paper 2013-2014
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Guang Zhu is a chinese artist and musician, born in NingXia, China, in 1985. Her works are inspired by her creative experiences, her research into the history of mathematics and the explorations on parametric equations. She works with formulas and code to create whimsical abstract simulations that attempt to communicate from her mystic imaginations. She is fascinated by the artificial movement of mathematical visualizations and curious to explore what metaphysical understandings objects of art can offer in the embodiment of mathematical symbols and computational processes.
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Her Master’s thesis “An Aquarium of Equations” has received a grant from the Lower Manhattan Culture Council in 2013, and its accompanying research paper “The Parametric Courante” was published in Fylkingen Publishing’s Hz Journal in Stockholm, Sweden. Guang received a BFA from the Nova Scotia College of Art and Design and a Master’s from NYU Tisch School of the Arts - ITP. She live and works in New York, Usa. guangless.com
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All right reserved. This production and its entire contents are protected by copyright. No use or reprint ( including disclosure ) may be made of all or any part of this publication in any manner or form whatsoever without the prior written consent of Made in Mind magazine. Views expressed in Made in Mind magazine do not necessarily represent the opinions of the editors or parent company.