stephanie syjuco

 

PROJECTS
 

RECENT

> Neutral Calibration Studies (Ornament + Crime)
> Neutral Orchids
> Cargo Cults
> Money Factory (An Economic Reality Game)
> Empire Gardens
> Hecho en Cuba (Made in Cuba)
> Artificial Currencies
> Dazzle Camouflage at Workshop Residence
> Public Pedagogy
> Market Forces
> American Rubble (Lancaster Avenue)
> The Fabricators (Tbilisi Edition)
> This is Not the Berlin Wall
> Dirty Works
> Copystand Books (Kronika Edition)
> Dazzle Camouflage Projects
> Cascadian Pattern Collapse
> Modern Ruins (Popular Cannibals)
> Re-Mediation Lab
> Afghanicraftistan
> Empire/Other
> Ultimate Fabrication Challenge (Fauxrijuana)
> CHATFACE
> The Precariat (Material Witnesses)
> Cargo Cults: Object Agents
> Neutral Displays (Small Dilemmas)
> Ultimate Vision (Dazzle Camouflage)
> Ornament and Crime (Villa Savoye)
> Speculative Propositions
> Excess Capital
> FREE TEXTS: An Open Source Reading Room
> The International Orange Commemorative Store (A Proposition)
> RAIDERS
> Phantoms (H_RT F D_RKN_SS)
> Pattern Migration
> Shadowshop
> Learning to Love You (All)
> Particulate Matter: Things, Thingys, Thingies
> notMOMA
> COPYSTAND: An Autonomous Manufacturing Zone
> Custom Transitional Utility Object (Morris Mover)
> Temporal Aggregate (Borrowed Beuys)
> Anti-Factory Bristol
> Towards a New Theory of Color Reading
> The Berlin Wall
> Counterfeit Crochet Project (Critique of a Political Economy)


Black Markets 
Mis-Productions
Self Constructions 

 

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Tests for digital sequencing: mathematically forcing two 3D scanned ceramic antiquities to "become like" each other, resulting in fractured, iceberg-like shapes.



 


Research image: colonial powers and trade routes


19th Century Congolese ceramic object, scanned at the MAS Museum, Antwerp


19th Century Congolese ceramic objects at the MAS Museum, Antwerp


19th Century Congolese ceramic object, scanned at the MAS Museum, Antwerp


Scanning documentation at the MAS Museum, Antwerp


Selection of Art Nouveau Belgian ceramics to be scanned and fractured with Congolese objects.


Belgian Art Nouveau artifact to be scanned


working with FLACC Workplace for Artists to create the fractured objects from digital scans.

Empire/Other
in progress, begun 2013

Collaboration with FLACC Workplace for Visual Artists, Genk, Belgium, 2013. Awarded a 2014 Guggenheim Fellowship and 2012 Nancy Graves Foundation Grant for further support.

Current museum collaborators include the Museum Aan de Stroom (MAS Museum) in Antwerp, and the City Museum Stellingwerff-Waerdenhof in Hasselt, Belgium.


I am working with digital 3-D modeling and scanning technologies, 3-D printing, and ceramic processes to produce hybrid objects that comment on the frictions and complexities generated by historical empire, colonialism, and their resulting trade routes.

By collaborating with museums that have significant holdings of colonial-era ceramics (American, British Empire period, African, Asian, etc), I am digitally scanning portions of their collection in order to forcibly composite new hybrid forms that speak of historical conflict. The first tests have been done on Belgian Art Nouveau objects and Congolese ceramics dating from the early 20th Century and were produced during the colonial era.

Current Progress:
So far we have scanned approximately sixteen objects and are in the process of pairing them to digitally force them to try to "become" like the other (one each of Belgian and Congolese). Because of the nature of the mathematical algorithm of the 3D software, it is a physical impossibility and the shapes shift and fracture, creating shattered iceberg-like hybrids that never meet in the middle--perhaps a fitting metaphor for the clash of cultures and histories. These will then be 3D printed and rendered as ceramic objects.

The resulting exhibition of animated digital videos and presentation of fractured ceramic objects will present to the public a new way of looking at how traditional objects carry forward their cultural histories and can also be mutated to speak of hidden histories. By activating museum collections around the world to create a new set of works, I hope to bring cutting-edge technologies into direct conversation with traditional methods.

This expansion into a high-tech mode of production paired with a very crafted ceramic technique runs parallel to my interests in labor and the hand-made. Having created factory-like or store-like settings, my installation works have displayed vast collections of objects that question our cultural assumptions and desire for commerce. The scope of collaboration with a museum collection as well as the digital technology employed is an entirely new territory for me, and I am confident it will generate many new directions.