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Category: PROJECTS

Mask/Face

Facial Recognition and the Performance of Identity To uncover the paradox of the face in its various dualisms, this paper takes up Gillian Wearing’s Self Portrait at Twenty Seven Years Old (2012), as a contemporary work that engages a discourse of surveillance and visibility. Tracing the history of facial identification and modes of classification, this essay draws on a genealogical methodology to locate contemporary instances of biometrics. As a self-portrait, my object of study grounds…

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The Public/Private Face

The Glut of Faciality in Surveillance Culture Starting with Michael Warner’s historical analysis of public and private, this essay questions the position of the face when taken up as a set of information, biometric algorithms and codified analysis. Historically, public and private have been understood as spatially distinct zones, and what is considered public or private is embedded in instinctual behaviour and modes of speech. Advancements in biometric technologies and applications have led to the…

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Face-less Identification

Tradition and recognition in the work of Ursula Johnson “L’nuwelti’k (We Are Indian)”, is a series of on-going performative works by Mi’kmaw artist Ursula Johnson, weaving face-concealing baskets over a participant’s head. “L’nuwelti’k” engages discourses of identity, transformation and visibility. Through the use of status-specific titles, Johnson critically comments on the government-imposed categorization of indigenous status and identity through the Indian Act (1985). Tracing the history of identification and modes of classification, this paper investigates…

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The Glut of Faciality

The focus of my research engages with embodiment, biometrics and the corporeal form. For the duration of this Master’s program, it is my intention to develop a critical writing and prototyping practice to investigate and disseminate the ways in which our bodies’ become commoditized, their function, profile or appearance negotiated through the various uses and implications of technological translation. Through explorations of biological identity, transformation and growth, I take up the digitized, technologized concept of…

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Journal of Comparative Media Arts

The Comparative Media Arts Journal (CMA Journal) is an open-access, peer-reviewed graduate journal of lively inquiry into visual culture, cinema studies, performance studies, and new media arts, encouraging intermedial and comparative approaches. Each annual issue is focused by an aesthetic theme. Promoting open-minded thinking the CMA Journal aims to generate a fruitful environment for critical, historical, and theoretical analysis across arts forms and practice. Launched in 2015 by founding members Kristina Fiedrich, Molly Grant, Carolina…

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Body Flux

PechaKucha Night Volume 3, September 28, 2013 at the Richmond Cultural Centre Volume 3 was in relation to the Fictive Realities exhibition at the Richmond Art Gallery (RAG). The group exhibition examines technologies as interactive digital projection, artware, video mediated sculptural installation, as well as good old fashioned storytelling. Participating Presenters: Rachel Lafo, Carrie Walker, Wynne Palmer, Little Woo, Sean Arden + Erin Siddall, Jovanni Sy, Miles Thorogood, Vivian Chan, Kristina Fiedrich, and Durwin Talon [su_youtube url=”https://www.youtube.com/watch?v=CuUhr-9nERg&feature=youtu.be”]

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Under and Beyond (the Skin)

  For this presentation of my thesis project, Under and Beyond the Skin: Artistic process, trauma and embodiment in image-making, I will be introducing and expanding on the most recent developments within my practice, which includes Beyond the Skin, a project explored in its early inception within the thesis essay. To briefly outline my intentions, I will first discuss the prosthesis and the ways in which I take up what I refer to as a…

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