Vestige Noesis
Patinated Steel, Plaster and Mulberry paper. 2024
The cutouts of the metal framework reference religious architectural forms of gothic stained glass, as well as today's data chips and memory cards. Reinforced by the blueprint engravings on the plaster paned surface, the mechanized transfer of pattern. Inscribed information turning the inert into artifact.
Plaster having been first used as a form reproducing material by the Egyptians to make impressions from the faces of the dead, while today's memories are stored in silicon, data passing through metallic conduits. Nature passes on its strands of information through nucleic acids into the larger organism.
I wanted to reflect these material processes into the idea of a living history. A language with which to create an artifact of my own memory. Etching blueprints of the home I grew up in and the burial plot of my father into a series of snapshots, obstructed by their own light but revealed in its absence.
The object as embodied memory, the reason for altars and gravesites throughout time. Reverence, remembrance, a passing on beyond itself, a continuation.
The passage through the present. What things do we pass on once we are gone, what is important enough to keep, and what do we leave behind.
Patinated Steel, Plaster and Mulberry paper. 2024
The cutouts of the metal framework reference religious architectural forms of gothic stained glass, as well as today's data chips and memory cards. Reinforced by the blueprint engravings on the plaster paned surface, the mechanized transfer of pattern. Inscribed information turning the inert into artifact.
Plaster having been first used as a form reproducing material by the Egyptians to make impressions from the faces of the dead, while today's memories are stored in silicon, data passing through metallic conduits. Nature passes on its strands of information through nucleic acids into the larger organism.
I wanted to reflect these material processes into the idea of a living history. A language with which to create an artifact of my own memory. Etching blueprints of the home I grew up in and the burial plot of my father into a series of snapshots, obstructed by their own light but revealed in its absence.
The object as embodied memory, the reason for altars and gravesites throughout time. Reverence, remembrance, a passing on beyond itself, a continuation.
The passage through the present. What things do we pass on once we are gone, what is important enough to keep, and what do we leave behind.