VULNERABILITY
After works by artist Damien Hirst
This appropriation of Hirst’s work embodies the sexualization and vulnerability of women in society. The placement of a female figure in a tank for masses to view imposes contrasting feelings of intrusion and intrigue. This is reminiscent of the way women are often viewed in society. Hirst’s work was intended to cause discomfort in viewers. By using the same tank, I attributed a similar goal to my own visual piece. This work embraces and celebrates the beauty of femininity and critiques the societal norm to sexualize female bodies.
10 Days | 1st Year Undergraduate: Visual Arts
LABELS
I created this campaign to draw awareness to the harmful effects of stereotyping based on skin colour. Stamping the visual minorities in the images with Nutrition Labels was a design decision made to highlight the dehumanization ingrained in racism. The campaign was created in response to the series of tragic events that occurred in the United States in the early 2010s revolving discrimination and prejudice, especially around police brutality. Unfortunately, it is relevant to date.
14 Days | 1st Year Undergraduate: Visual Arts
SHINY SHINGLE HOUSE
"If proximate means almost or close, it conveys the sense both of aesthetic difference and of spatial nearness. Its etymology, from the verb 'proximare,' suggests the consideration 'to approach.' As things approach each other…. some amount of affecting between the two will arise." (Jon Lott)
This project is about proximities and sublimation. Its full meaning is to be deciphered and decided on by each viewer.
This work revisits archetypal narratives that depict the body and its environment in psychologically limiting terms, which I am challenging, transforming, and dissolving. Legacies about self-identity, art, and what creates acceptable architecture are often shaped by male desire and fantasy. By inviting an alternate reading of sublimation as envisioned by Sigmund Freud, who used the word to define the transfer of energy from negative behaviour—frequently involving unacceptable sexual impulses—to more wholesome outlets. I explore these dual aspects of sublimation, reimagining cultural legacies of complexity, irony, turbulence, and beauty.
90 Days | 5th Semester MArch
the familiar
the beautiful
the curious
Though sight and touch are physiologically distinct, we develop the ability to perceive texture from visuals in early childhood. Tactility — a deeply innate sense — requires immediate proximity to the human body to experience, while viewership is the contrary. We can see further than we can hear, smell, taste or tangibly feel. We can discern what an object or surface may feel like from an image.
The fuzzy & the shiny. Non-tactile tactility. The dance between and within observing and inhabiting. The familiar & the curious. The elements that, when overlapping, give birth to beauty.
IRONIC, COMPLEX, FANTASTICAL & BEAUTIFUL Observers, through self-recognition, inhabitants.
My work and myself, juxtapozed with Diana al-Hadid's Sublimations Sculpture.
Architecture that has become site. Observers become inhabitants through the act of observation. The site is an observer and become inhabitant of the piece also. This is architecture, observer, inhabitant, and site. This is sculpture.
Through the piece'svown device, reflection, its tricks are revealed.
THE AMERICAN DREAM
Uninhabitable yet observable. Inhabited only through illusion.
My work, juxtapozed with Alyson Shotz's mirror fence.
IT TAKES A VILLAGE
This project proposes that intentional adaptive reuse design that creates a stage for communal living can act as a response to the housing, transportation, social support, and education crises that are afflicting singleparent households in Boston. Architecture can become a stage for acquired kinship. By designing spaces that support collective living, the burden of domestic labour can be shared, freeing up residents to be more productive outside of the home as well. The project’s intention is not to stigmatize single-parents, but rather acknowledge the weight of childrearing, and celebrate the notion of collective living as a supportive system for guardians.
90 Days | 4th Semester MArch
A language of fluted walls is introduced to create different levels of privacy, allowing for privacy and surveillance for child safety through roatiting vertical louvres.
The walls become a wayfinding device for children, with concave walls marking public spaces and convex walls marking private. Tactility is one of our first senses to develop, so by creating a textured wall expression throughout the building, it creates an extremely engaging space to raise children in.
TYPICAL FLOOR PLAN
VELOCITY
This is an intervention on an eroding cliff in Vancouver, BC. In this project, we analyzed ways in which we could set up retaining walls that would alter and control the velocity of soil and water on the cliff to make interesting spaces for humans to occupy. In demonstration, a viscous liquid was poured down the model in order to illustrate a time lapse of cliff erosion over decades, and show a possible long term outcome of the design. Heat formed acrylic was used to embody fluidity and movement. In our process we created a model to represent our research findings. This model is a series of gears that were all triggered to move at different speeds when a handle was turned, symbolic of how erosion triggers movement of land, air, and water on different scales of time.
40 Days | 3rd Year Undergraduate: BENDS
In collaboration with Megan Berry (Sections) and Narita Ico (Model Fabrication Assistance)
