This project is about the shifting perceptions of our body-space relationships. Spatial Disintegration is based on the brutalist framework being that it has a history of contradiction. Such movement stems from socialism, which then sci-fi films borrowed their architecture as an icon to represent totalitarianism. This same shift of perception comes in the types of agencies people have with space and structures. For the visualization of this concept, I filmed dancers cohabit in public spaces surrounded by brutalist structures. Those dancers performed sets of LMA (laban movement analysis) movements, which comes from their awareness of their body in such space, the (repetitive) imitation of others that also exist in that space and their personal relationship with the spatial qualities of their environment. The end result was a generative film with procedural overlaying visual distortions, emphasizing their own interpretation of space and how that has an impact on architecture and the multiplicity of our behavior in that environment.

2019
Single-channel video installation (color), projection, custom software, headphones, custom tilted wall
Sound Design by Coco Badan
Performed by Agustina Suárez, Alberto Munguía, Año Luz Plataforma Escénica (Luis Neri), Jose Merino, Katia Zaitseva and Victor Siáñez-Vaca

Recieved DMA (Design and Media Arts) Senior Exhibition Award

UCLA Design and Media Arts thesis project

Signaling Noise, LA captures the Los Angeles city sites where sound becomes noise. In the past year, I’ve become interested in recording sound and how space shapes sound [and vice versa]. When realizing that most of my sound data collected in that year was of city noise, I began to record footage of those sites with the aim to focus on sound as space. Signaling Noise, LA is rethinking the urban landscape in terms of spatial sound, while the city architecture has an effect on the sound environment the noise disruption that is generated is often unnoticed. Viewing noise as space becomes a prominent idea in this work, the custom software reinforces that idea by distorts each frame depending on the sound frequency of its city site, visually disrupting the image through noise.

2019
Three-channel video installation (color), projection, custom software, two-channel audio
Sound Design by Andrew Ortiz

Recieved DMA (Design and Media Arts) 2019 Undergraduate Exhibition Award

The web is a means of communication and thus a way of expressing current state of events; with the help of digital sources we’re able to receive data endlessly. Most of those sources make use of machine learning algorithms to enhance our interaction with people from all around the globe, creating a sustainable virtual ecosystem. However, our information is not solely virtual, mass data is stored in warehouses called data centers. Major corporations fail to address the negative environmental impact that these data centers have by making their locations anonymous. The servers used to store data requires an exponential amount of energy and cooling power, which contributes to our carbon dioxide footprint. The portrayal of the web as an eco-friendly space free of waste is inaccurate, Hidden Numbers is aiming to address such environmental issues that most aren’t aware of yet all participate in. Through generative visual poetry and textured sounds, Hidden Numbers is referencing the conflict that exists with our virtual interactions. By demystifying the medium, which is the web, one can conclude that such sustainable environment also stores virtual waste. Hidden Numbers aims to create awareness of our virtual and physical print that is caused by our sharing of information.

2018
Video (color), custom software, audio

Hidden Numbers is a work done for the magazine Re Fuse, Volume 2

Augmented Proximity focuses on human-machine interaction and how it can be amplified by regulating the field of view in accordance with proximity of the user to the objects. To simulate the movement of the geometry in real time, they are mounted on the KUKA robots and by using live connection, resulting in creation of intuitive movement path. Our physical model enhances the morphing of surfaces to curvilinear geometries and its spatial potential. These aspects of the project are enhanced by generative particles through projected content. Further we mapped real time interaction with machine vision technologies. Biological aspect of the project was enhanced through Augmented Reality with integration of organic growth systems.

2018
Interactive projection mapping (color), KUKA robot, AR, VR, custom software, custom 3D
objects
Team members: Dhwani Gogri, Evgenia Terzi, Hui Lui, Karan Pashine, Karina Lopez

Winter 2018 Tech-Seminar, SUPRASTUDIO in Technology

Cognitive Chronesthesia is a site specific visual interpretation of memory time travel. This work depicts the synchronistic connection between memories and cognition through motion graphics and found footage. Presented as a video installation at UCLA Broad Art Center.

2017
Three-channel video installation (color), projection, two-channel audio
Music: “Distance” by Nosaj Thing

Data Frequency is a research based project that analyzes the consumption of fake news. This series embodies data overload through sound, text and images from different media coverage emphasizing the overwhelming quantity of abstracted content.

2017
Two video installation (color), screen, headphones
Exhibited at J. Paul Getty Museum for College Night

Reuse by Design is addressing the environmental impact that consumerist culture has had, where fast fashion is a daily routine, pushing us to produce more waste. Furthermore, this project is an attempt to explore how design could contribute to a re-imagination of speculative wearable design by reusing one’s trash. The focus on wearable design is inspired by the exponential growth of fast fashion and it being one of the primary polluters. Putting myself as an example, for a week I listed the amount of trash I consumed and created a dataset of each individual product. After analyzing my week’s worth of trash, it led me to rethink my relationship with materials. By exploring the functionality of my trash, I shifted from the ordinary use to more creative and authentic ones.

2018
50 pages (color), one copy

To see entire book, click here

In collaboration with Leming ﾉ*:･ﾟ✧.
Our role: Designers and Developers.

Visitor Welcome Center became an art space/gallery in 2016 founded by the artist and writer David Bell. From curated art shows to art community shaping, Visitor Welcome Center is a place for unconventional artists to unite through art and ideas.

Role: Designer and Developer.

Rebeca Méndez is a world-renowned artist, designer. Her research and practice investigates design and media art in public space, critical approaches to public identities and landscape, and artistic projects based on field investigation methods.

Role: Designer and Developer.

Compressed Cinema is the series title for five new audiovisual works completing in 2020. The images were created by Casey REAS, and each work has a stereo audio track composed by Jan St. Werner.

Role: Spanish Translator and Developer Assistant.

The p5.js Showcase is an online gallery of work created with p5.js, an open source creative computing library. It was created by Ashley Kang in 2019 (view the 2019 Showcase here) and is currently curated by Connie Liu.

Role: Designer and Developer.

counterforce lab is a research studio that harnesses the power of art and design to engage with the reality of global ecological crisis and its ties to environmental injustice. counterforce lab is a collection of artists, designers, scientists, and thinkers working in transdisciplinary collaboration to create new theoretical frameworks based on artistic fieldwork practices, and in co-creation with community partners.