stephanie syjuco




> 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)
> 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)
> 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 
Self Constructions 









Neutral Orchids

Archival pigment prints

This photographic series consists of living orchids that have been sprayed with industrial gray primer paint and then shot against a photographic neutral gray seamless background. Appearing almost ashen and unreal, their living form is betrayed by the slight shades of color that have escaped being painted over.

As "exotic" flowers that have since been cloned ad infinitum and marketed to the public, orchids bear the weight of being at once foreign and domestic, a common decorator item that connotes elegance as well as distant tropical splendor. By physically neutralizing them with primer paint, they become almost blank canvases that can be further projected upon. Suspended between life and death (they eventually do die after several weeks of struggle and even bloom after the initial coverage of paint), they articulate their physical burden of representation as well as perhaps becoming a newly-made possibility -- caught in suspended animation as photographs.