SpoLiGo-Type Array acrylic on plywood, galvanized-steel wire,epoxy resin, and found objects in a free-standing screen, mixed-media animation on dual monitors 60 by 45 by 15 inches, 5 minute looping animation
SpoLiGo-Type Array (2023) combines a two-channel video and a sculptural screen into the representation of a human body through the abstract idiom of medical visualizations. Named after one of techniques involved in gene editing, this work is also meant to illicit the human microbiome, imagining human identity as a non-monolithic ecosystem in which various interests collaborate and compete.
Stochastic Garden 2022 evolving mixed-media installation, Spring / Break 2022 variation pigment prints on plywood, cg animation, Little Syria Parade props, found objects dimensions variable
“Real Realism” curated by TUSSLE Projects
“WE PROCLAIM… Real Realism acknowledges yesterday and tomorrow is simultaneous. We obliterate this time element by a retrograde motion that would penetrate consciousness, reassuring us that a renaissance might still be thinkable.”
Amy Bassin Jack Henry Laura Horne Julia Kissina Brian Zegeer
TUSSLE projects Booth 1126 SPRING BREAK ART SHOW September 7 – 12, 2022
Pigment prints of my photos are cut up and shaped into sculptural objects, snapshots of my family formed into hybrid beasts. Almanacs imagines the moments of daily life as material to be mined for unexpected synchronicities, larger shapes of meaning that emerge from the particularities of the play of light upon a wall or the coinciding of two unrelated moments. Patterns appear, predictive models emerge, as in the case of weather forecasts and tide tables in a traditional almanac.
A Sphinx is a wall installation of photographic pigment prints on light wooden armatures mounted to the wall.
Fragmented images of my partner, my daughter, myself, and our domestic space are arranged upon the wall to evoke a 6th century B.C. carving of a Sphinx from modern-day Lebanon.
The work imagines our family as one large, single organism; a unified consumer, producer of waste, enactor of an inscrutable agency.
Over recent years, Science has shed new light on the role of the human microbiome (our resident bacteria and viruses) in collaborating with our native systems on every level, effectively becoming shared partners in achieving homeostasis. To a large extent, the ecosystem bounded by our flesh is the consolidation of many individuals, no “I” but “we”.
I see family as a fitting extension of this body ecology motif, and have noticed a decided sublimation of respective individual aims for the sake of greater familial goals in my own experience of family. The Hwang-Zegeer “macrobiome” effects its own will.
Our macrobiome coheres to the shape of a Sphinx as a nod to the heterogenous nature of this organism, but also points to tendencies in families to harden around traditional structures of belief and behavior. The sphinx is a reference to my own Lebanese-American heritage, and to the forces that bind us to genealogical patterns, encourage precipitous growth in our carbon footprints, twist our bodies into better compliance with a monolithic will.
A cycle of short mixed-media animations loosely transcribing The Book of Khalid (1911) by my relative Ameen Rihani. The video was produced in stereoscopic 3D, the tension between the two optical channels relating to the dual protagonists of this forgotten proto-Orientalist novel.
This series of works arose from the study of Little Syria , and is to some extent a culmination of the Little Syria Archive and related preservation work.