graphics

EVOLUTIONARY STUDY OF A HYPOTHETICAL SPECIES, color prints of paintings, graph paper, 13.5" x 11" (framed) series of 12 triptychs, (2007)

detail of EVOLUTIONARY STUDY OF A HYPOTHETICAL SPECIES

ALIEN iPhone, iPhone screensaver, (2014)

detail of ALIEN iPHONE

MAP(PING), printed folding map with integrated text by Gean Moreno, 8.5" x 4", limited edition series of (30), commissioned in conjunction with Artists in Action! series in conjunction with the group exhibition Following the Line, Girls' Club, Ft. Lauderdale, (2013)

"It’s a pendular logic that demands a kind of cartography that is useful because inexact; a map that works where it doesn’t correspond with the territory that it is tracing. It trades accuracy for usability, but of course without automatically adhering to the notions of use that habitual thinking protects and values. Disorientation, after all, not only as a kind of mimesis of social disintegration and swelling incoherence but as a suggestion of the possible capture of the unassimilable, or at least of its fragile traces and indices, may be the better task for the map. If the map always marks a boundary--that of abstraction--it should also mark an exterior--something that exceeds the territory. It should not only trace what is given, but, even if only in tentative ways, what the territory itself cannot incorporate. It should delineate apertures and sinkholes--or speculatively terraform them--minimal and elusive as these may turn out to be, that hide in the sedimented topography of the territory. It should modulate the ground through diagrammatic prowess until inflections of the exterior--of the Outside--ding and warp the depicted surface of the terrain;

until they fold themselves into the picture, redistributing the territory’s intensities in a gesture of fidelity to hopeful exercises that seek escape routes from a broken down present; until, that is, some other angle is opened on the material at hand, generating a plotted figure that incorporates--or at least suggests--the reverse or the hidden dimension of the space being scrutinized. Maps or mappings as abstract borders from where we can undertake pendular sweeps that link the interior and the exterior, the territory as representative of the spaces in which we move and of what we can know and the Outside as that opaque exterior of not-yet-imaginable or not-yet-affordable possibilities. It is, after all, through these pendular sweeps that one may be able to scope up traces of what is out there beyond our current cognitive and imaginative limits. The pendular sweep may allow us to return with what anthropologist Deborah Battaglia, in another context, has called the Exo-Surprise--revelation from and of the Outside." Gean Moreno

WALL MURAL at FOOD@SCIENCE CAFÉ, digitally printed acrylic panels with integrated printed imagery, metal stanchions, lacquered frame with LED lighting, 60" x 204" x 10", collaboration with William Lane, commissioned by the Phillip and Patricia Frost Museum of Science, Miami, (2017)

fabrication drawing of WALL MURAL at FOOD@SCIENCE CAFÉ

fabrication sample of WALL MURAL at FOOD@SCIENCE CAFÉ

detail of WALL MURAL at FOOD@SCIENCE CAFÉ

An 18' long by 4' high mural consisting of imagery such where we can visually apply our data. Compressed onto layers of printed, back -lit acrylic, the images can be thought of as samples that are seen under the lens of a giant microscope. Neurons, infrastructure, circuitry and the moon are just a few of the topics that create a stratum of data and imagery at multiple scales.

digital collage for WALL MURAL at FOOD@SCIENCE CAFÉ

The city is no longer constituted as a series of discrete structures. It is a complex interweaving of Blue…Blue glass, Blue water, Blue sky, Blue of noon, Blue tears, Blue terra forming, Blue prints, Blue moon,…Blue candy…a Blue that is alchemical, infrastructural, shiny and crystalline. We both consume and are consumed by this city. We must adapt…

fabrication detail of THE WORLD THROUGH BLUE COLORED GLASSES

THE WORLD THROUGH BLUE COLORED GLASSES, 2D digital print of 3D digital model onto PVC, 32” x 72”, commissioned by the Phillip and Patricia Frost Museum of Science for the group exhibition Miami Citiscapes, (2015)