Cityscape to Sacred Space: A Visceral Sculpture Map

Hannah Materne

Mel Palapuz

This sculpture map is the physical manifestation of the visceral and emotional experiences while crossing from the chaotic cityscape of Boulevard René-Lévesque into the sacred space of the cathedral Mary Queen of the World. The bead, representing the human, is pulled along a wire path as it travels from the chaos of the street, through the imposing vertical threshold of the modern city, and finally, into the warm hearth of the illuminated sacred space. The journey, repeated in the opposite direction, draws out a shred of fabric from the sacred space, showing that the experiences of each space colour one another.

Wire, aluminum, clay, foam core, fabric, LED
10 x 4 x 8 in.

We Don’t Think in Binaries

Jeremy Segal

This installation explores the increasingly blurry dichotomy that exists between our natural, biological selves and the mesh of computational technology in which we are embedded. Using glitch art methods, the video’s code is directly manipulated in text form, producing visual noise. The sound is a direct sonic reading of the video’s code. This project aims to extend the definition of typography in digital media, shifting it towards the code itself.

Acrylic cube, iPhone 6S+, mannequin hand, grass rug, soil, lights
8 x 8 x 8 in.

3D heart

Anna-Maria Van Kosenstram

The project required research about how printing helps in surgery, specifically for parts of the human body having been damaged. This 3D-printed heart is based on chest X-rays from a cat scan. The intertwining future of 3D printing and medical procedures is an interesting topic of study.

2015
Powder 3D printer
4 x 2.5 in.

Before Effects

Francis Goodship

Tam Vu

Since AfterEffects is typically used as a post-production tool, it is interesting to use it for the opposite, creating all the video animations as preproduction. A box was constructed to allow the juxtaposition of the animations in real time, which in effect leaves room for error. This sort of imperfection is an attempt to broaden the common spectrum of video animation.

Glass, iPad, screen
12 x 17 x 6 in

I Digitalove

Johnson Ta

Abejane Lou Alvarez

This is a speculative project that critiques our society’s carefree approach to sharing personal information on the Internet. Set in 2056, it is a world where the death of a person is missed more virtually than physically. In order to comfort a family member, a lover, or a friend, an online company called “I Digitalove” creates an Artificial Intelligence based on that individual’s social media and online footprint. The AI becomes the perfect individual; it has the same memories and psychological and behavioural patterns. Hence, it becomes possible to continue communicating online with loved ones that have died.

Paper
8.3 x 11.7 in.

The Cocoon, or the Phone Removal Treatment

Alexandra Durand

Nomophobia is the anxiety felt when separated from our mobile device. Set in a speculative future, this project The Cocoon is meant to be a treatment for this condition. By knitting a physical cocoon for your mobile device, not only are you cutting yourself from it, but also enjoy the meditative craft of the process. Since it is not permanent and can be undone at any time, the project brings forth the idea of the Second Law of Thermodynamics: in a system in which no external forces act, disorder will increase.

Yarn, knitting needles, cardboard, paper
8 x 8 x 3 in.

Future Tomb

Jamison Lightfoot

Cemeteries contain gravestones from centuries ago, showing crumbling and deterioration, to the modern laser-cut ones, pristine and photorealistic. Gravestones from a hundred years ago have begun to return back to nature, weathered from years of harsh winter, while the graves of the present may remain long past their owner’s death. Furthermore, tombs of the future may exist in binary, devoid of tactility or materiality. This typeface aims to take inspiration from the structure and form of bevelled stone. However, it is brought to the digital and deconstructed, so as to understand the progression of the medium of mortality.

Vector Illustrator (Adobe), ink print
24 x 34 in.

Dee & Ampersand

Alexandra Durand

This project sought to experiment with items that are typically 2D, in this case letters and other glyphs, by bringing them into a 3D context. These two characters are meant to be an exploration of materiality and texture. The letter “D” is knitted and stuffed; appearing soft and squeezable, while the ampersand, embroidered using French knots, creates texture and plays with tactility. Both letters are made with what are considered artisanal crafts, pushing against the idea of mass-production. These two sculptural pieces are unique; even if they were to be redone, they would not be the same.

Wool, synthetic stuffing, canvas, embroidery thread, foam
5 x 5 x 5 in. and 5 x 5 x 1.5 in.