stephanie syjuco


Black Markets

> 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 








Digital mock-up of project. Final version is realized in cardboard and color digital prints. Photographic documentation to come...

Flat color-field rendering of pinned flyers.

Used as source material: actual public notice board at People's Park, Berkeley, CA, June 2009.

Color Theory Communication Transference (People's Park, Berkeley, CA)

Cardboard and digital prints
84" x 96" x 30"

This work is a bulletin board display with digitally-printed color flyers pinned to it that are based on a "color-averaging" of an actual public billboard found at People's Park in Berkeley, CA. The structure is built out of cardboard and becomes an aesthetic visual proxy.

I've been exploring the visual "leftovers" of Berkeley’s radical history to see how its ideals translate from 1969 to the present day. Aside from the headshops, hippie tie-dye stores and cafes, it's a pretty weird mix of old-age radicals that look like they've seen better days and college students who look like they couldn't care less about politics. Berkeley, like San Francisco's Haight Ashbury, has become a bit of a Disney-ification of itself with bumperstickers, tchotchkes, Bob Marley
t-shirts, and dreamcatcher vendors. It wears the markers of radicality but seems quite content to be its own tourist caricature as well.

Where do the politics reside today and what does this visually look like, especially if the public become inured to the caricatures?
People's Park was a rallying cry for students against the University back in 1969 and now it looks like a sad, almost dangerous and derelict place. History somehow still is embedded in the park but the connection seems tenuous, more of a memory than an actuality.

Creating a visual approximation of the public postings found on the billboard in the Park removes the specifics but asks the viewer to in some way fill in the blanks as to what the message holds for the present and future. Are they radical flyers? Are they spiritual posters? Are they business cards for services? Rave flyers?

Emptying an image may also perhaps grant it some space for a new type of content, one that is imaginative and perhaps more creative than what was really there.




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