AL186: Untitled [Dark System 3]

This work explores the ancient Etruscan Practice of Haruspicy - a divination by which the entrails of sacrificial animals are examined. It is also an  attempt to convey artists’ visceral  processes, the canvass envisaged as a vessel,  holding pigment-blood

 Sang Bleu

Faceless

This project used machine learning algorithms to create a self-portrait that illustrates how we create our digital selves, how others are able to use our data to create a form of us, as well as the veracity and distortion of those creations. I primarily used data I created about myself and this data was fed into machine learning models whose outputs formed the self-portrait. Though self-portrait is the term used, my face per se is not necessary and the intention of the project was much more about the digital representation of human perception and experience. A self-portrait method is used to provide unrestricted, accessible, and emotionally vulnerable data based on a real person. Using myself as the primary subject reduces (though it does not wholly remove) problematic issues such as misrepresentation, external bias about the subject, and manipulation of the subject. The unique aspect of the project is in the use of multi-media, constructed out of definitive data, to portray a broad and equivocal interpretation of a person, which in turn calls into question how we create and are created by interpretations of data.

Untitled

Todo is a mixed-media project that explores the reminiscences of 
fascism in contemporary Spain; reminiscences on society, reminiscences on the landscape, reminiscences on myself. Archive materials and original imagery work together to connect the past and the present. 

The history of Spain was rewritten several times until all the parts 
that the Regime found inconvenient were erased. Spain has forgotten its past several times, sometimes willingly and sometimes forcefully. The pact of oblivion was the price to transition to democracy, and the horrors of the war and the posterior dictatorship were hidden behind thick walls of silence and shame. Historical facts  in contemporary Spanish history are ambiguous and intrinsically 
shaped by ideology and conflict.

Todo

Compassion

15 prefixes is a work that uses punctuation to alter the meaning of commonly used words gleaned from media and conversations across 2020 and 2021. 

It demonstrates what Karen Barad (2020) calls the cutting together, apart, offering what might be new constellations of thought or different kinds of openings for thinking otherwise. 

15 prefixes

This anti-memorial examines the various traumatic events that occurred in the year 1919. It was the year after the first World War and many significant events worldwide, from the US to Australia, China to Mexico, and Russia to Europe.

An Archive of 1919: The Year of the Crack-up

The ecological transition, and the relationship between humans and nature, are among the subjects that touch me the most.  In this photography project that I entitled "2021: Un crépuscule", I chose to approach this subject in a rather introspective manner - speaking not only of our material relationship with nature, but also of an inner destruction that is gradually occurring in each of us: the threats which weigh today on our planet - an environmental crisis unprecedented in human history, the alarming loss of biodiversity and the climate change, our economic model and our lifestyle focused on capitalism and overconsumption…  This nature, so often dominated and oppressed, today rebels, and shows us the limits of all the changes that we imposed on her.  Confronted with a monster they have created and can no longer control, modern humans continue to refuse the evidence and to evade the irreversible.  They wander in search of solutions, pushing aside all promises.  Mother Nature, so silent for so long, gradually regains her rights, leaving mankind destitute of resources; and it is with elegance and certain casualness that she plays with all the traps that have been set for her.  Humans now move forward without landmarks, frozen in their habits, in search of this lost contact that will allow them to reconnect with their original world.  In this series, they are only witnesses, objects of an environment that nature draws.  It is she who now decides and imposes, yet she does not completely expel from her territory these strange creatures who have done her so much harm.  Perhaps, she even gives them one last chance and, failing to be reborn, the hope of reinventing themselves.

2021: Un crépuscule - No.2

Concrete Jungle, Sao Paulo, Brazil

It's really not important

Porcelain Disposition I

Reconstructed Rococo painting by Fragonard using fashion and tapestry fabrics with quilt techniques to give it relief and a bodily appearance.

'Trickster' (After Fragonard, The Toilet of Venus)

In Bloom finds herself in a time of new development, a time where her body starts a new phase.
Spruce with Oil 

In Bloom

Shredded fragments of the artist’s self-portraits on a heap of polyurethane supported by a stainless steel cube with welded edges. This work pushes the subject of this self-portrait beyond recognition by creating a fragmented and fluid object that seems to transform into something else. This labour intensive work took the artist a year to complete as each self-portrait fragment was individually applied by hand.

The impossibility of nihilism

Glumunpiv

‘Dear Data’ is an apology letter from the artist to all the data she has given away. This letter expresses feelings of guilt and regret while also expressing a newfound appreciation and respect for her data. Her sincere apologies attempt to create a sense of responsibility in the reader for their own data and force them to think about how much they have given away. Accompanying this piece is a self-portrait created from Phelan’s information stored by Facebook, in which she requested access. This work has been informed by Jaron Lanier’s research into developing a more dignified information economy.


Gospel According To Facebook

Fugitive Sheet (Excision)

SCAPE III

Featured at the De Young Open exhibition at the De Young Museum in San Francisco. 

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