stephanie syjuco

 

PROJECTS 
 
RECENT
Black Markets
Mis-Productions

> Unsolicited Fabrications
> Color Theory Communication Transference
> Labor Relations (After Stickley, After Morris)
> Five Days Towards a New Modernism (Beijing)

> La Maison Tunisie
> Everything Must Go (Grey Market)

> Future Shock Nesting Boxes
> Wirtschafts-werte (Economic Values)
> Pacific Super
> Doppelgangers
> Werkstaat and Books & Disks
> Multi-User Interfaces
> Comparative Morphologies
> I Love Technology and Technology Loves Me



Self Constructions 

 

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Multi-User Interface (Index Display), foamboard, contact paper, LED lights, dimensions variable


Multi-User Interface, foamboard, contact paper, LED lights, overall 64" x 40" x 30"

Left wall: Surveillance Camera: foamboard, contact paper, LED light; Right wall: Multi-User Interface: Input: digitally printed commercial banner, 5' x 7'; Floor: Multii-User Interface, foamboard, contact paper, LED lights

Left wall: Multi-User Interface (Reading): digitally printed commercial banner, 5' x 7'; Right wall: Condensed Surveillance Cameras: foamboard, contact paper, foam, LED lights; Bad Disks: foambard, contact paper, frames

Multi-User Interfaces
2002

Part of the solo exhibition "Transmogrified,"
at Haines Gallery,
San Francisco, CA

Read review:
Frieze Magazine, 8/02

 

Commercial products generally have a function--they play music, record sounds, flash your images, serve your needs. They are most likely made in foreign countries, out of tiny components which, taken as a whole, add up to a defined and designed unit--it's purpose in life honed and defined. On the flip side, products with elusive functions generally don't have a ready audience, and quickly fail in the marketplace.

Prop-like, hollow, and visually flattened out, the sculptural "Multi-User Interfaces" reference "products" while at the same time play at basic formal concerns of color, line, and volume in a kind of contemporary minimalism. Hand-made from foamboard and contact paper, the basic units that form these configurations are constructed from memory and personal approximation, with little reference to copying an actual form. By doing this, I seek to privilege my own memories and ideas of these things over pure facsimile. These basic units (vaguely reminiscent of everything from speakers, keyboards, clock radios, harddrives, remote controls, and processors) are then reconfigured into more complex forms and families, in order to build up as well as blow out what their new purpose might be.

Inspiration for this work comes from Third World modernist architecture from the 50's and 60's, old and out-dated electronic equipment with a familiar visual vernacular, classic Bauhaus constructions, and Circuit City. In many cases, the sculptural work is modular and can be posed and reconfigured in endless possibilities, almost as if they were a set of building blocks of open-ended use and ergonomics.

Flanking the sculptural components are commercial-grade banners featuring snapshots of the units "in situ"--being used in some way and injected into the world. Reminiscent of advertising display, the images are blown up as large-scale digitally printed vinyl banners. On one hand, these images reference commercial product shots or "suggested use" diagrams, but in the end, display situations that are undefinable and opaque, leaving the viewer to summarize for themselves the functions of these forms.

What does it mean to meticulously hand-make what look surfacely like mass-produced objects? And what happens when even the maker herself is not quite sure as to what her products could really "do,"--as if designing products and interfaces for a future function which we have yet to define?


Multi-User Interface C and Suggested Use (Monitoring), installation view

 

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