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 









Video still of production documentation

Partial installation view

detail: five kilometers of plastic fabric printed in China with a 19th Century American coverlet pattern

detail: hand-sewn set of shopping bags, made from hand-woven textile

detail: hand-sewn set of shopping bags, made from hand-woven textile

detail: set of plastic mass-produced shopping bags

Pattern Migration

Two nineteenth-Century woven textiles, three hand-woven contemporary textiles, mass produced plastic shopping bags, hand-sewn wool bags, and five kilometers of printed plastic fabric on rolls.

Commissioned by the Columbus Museum of Art, Ohio, this installation responds to their extensive collection of 19th Century American coverlet (blanket) weavings, crossing production processes in order to address the friction between globalized factory production and artisanal craft.

Working with three contemporary weavers in the U.S. and Europe (Peggy Hart, Erika Hanson, and Travis Meinolf), I had them each produce a new textile in the distinctive plaid pattern adorning cheap Chinese-made travel bags. Commonly used around the world, these bags are hallmarks of a globalized spread of objects, moving along with migrant communities.

Working with a Chinese factory, I also produced five kilometers worth of plastic woven fabric, this time embedded with an American starburst pattern developed by a 19th Century weaver. This quantity represented the minimum order that could be placed, and showed the massive scale of factory production today. Visitors to the exhibition were able to take yardage from this hybrid fabric and were encouraged to make new "products" with it.

A set of hand-sewn replica Chinese bags were made from one of the new woven coverlets, closing the loop between handmade and mass-produced object -- a strange hybrid of disparate production processes.


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detail of commissioned contemporary weavings made by Erika Hanson (blue) and Peggy Hart (red)

Production documentation: Erika Hanson's loom being prepared for weaving the coverlet.

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