Beyond my individual research projects leading to academic publications, I actively pursue public-facing critical making projects meant to engage a variety of audiences. This page introduces some of them and links to their documentation.
As a member of the Fashioning Circuits Lab, I was a part of the first iteration of the “Words Matter” initiative, which built participatory artworks that commented on hotly contested terms. My contribution, titled B-O-R-D-E-R (2019), takes the simple yet powerful idea that borders are made at the expense of people and turns it into an interactive installation. The installation consists of an acrylic sandbox full of clay people and remains, a set of instructions, a series of claymation videos showcasing these instructions, and a cutting board. Asking participants to cut up clay people mobilizes playful interaction as a way to cast a shadow of culpability on those who encounter and contribute to the creation of a border. B-O-R-D-E-R ultimately asks participants to reflect on how building borders impacts communities around them. The first iteration of the “Words Matter” initiative was exhibited at the HASTAC 2019 conference at the University of British Columbia in Vancouver.
Stitch n’ Glitch (2018)
At the School of ATEC, I was also the Pedagogical Director for Stitch n’ Glitch (2018), a monstrous embroidery event that invited participants to stitch collaboratively on a 12-foot long collage of images of feminist media art. The multi-lab project reflected on and mobilized analog and digital making strategies inspired by the work of ATEC’s inaugural artist-in-residence, Lynn Hershman Leeson. The performative embroidery event that moved between two staging areas, the kitchen table and the studio. Held in Ada Lovelace Day in 2018, the central premise of the event was a celebration of feminist media artists enacted through communal creativity. Participants were invited to contribute stitches to a monstrous embroidery project that reflected on the ways in which feminist media artists glitch dominant systems. An interactive description and critical reflection of this project was published in the journal Hyperrhiz: New Media Cultures.