Four 3 dimensional cones move back and forth, intersecting and reorienting themselves along the same horizontal line.
They move in and out of each other, while chaotic black and white flashing plays on their sides. On the bottom face of each cone a b&w short film plays with a mouth speaking but no sound. This scene is intercut with shots of small waves on a shoreline, varied with a seagull and a woman running far away along the coast. The chaos of the editing builds to a climax, different shots flashing quickly on screen until it shows just the waves and the seagull floating away. This is all on a loop.
Inspired by W.B. Yeats theory of history from his divisive 1925 work A Vision, this piece poses questions about the creation of historical frameworks, the erosion of historical understanding and orientation through new technologies, and what happens when humanity loses its ability to consider history when faced with the realities of mass extinction.
This project explores the concept of a "live-performance" for animation. Based in organic shapes with colourful textures, the viewer submerges in a space where these shapes react to the sound of a music track and "performs" an animated dance, making it "live" by being rendered in real time.
Astronauta Aturquesada is part of the Aturquesada series that explores local contexts and histories through this shade of green that rests between teal and turquoise. This monochromatic colour becomes the artistic gesture that invites viewers to consider climate change and our carbon footprint.
Blobettes or blobs for short. I would like to maintain as much tone and value and details in the digital transformation. I imagine them sized as to a bus shelter and spaced randomly always travelling at a slow speed like rain. Creating randomness or the appearance of it.
A 3D digital image of a marshland cattail has a single stem and leaves. A straight solid copper-coloured stem supports the fuzzy brown cattail flower. The flower resembles a skewered sausage with the stem extending out the top. Three long green narrow leaves are mottled with colourful psychedelic patterns. The leaves point upward with a slight bend near the top. The simple brown root points down, extending from the thick stem. A blue water-like substance droops from the root.
A 3D digital image of a marshland cattail has a single stem and leaves. A straight solid copper-coloured stem supports the fuzzy brown cattail flower. The flower resembles a skewered sausage with the stem extending out the top.
Three long green narrow leaves are mottled with colourful psychedelic patterns. The leaves point upward with a slight bend near the top.
The simple brown root points down, extending from the thick stem. A blue water-like substance droops from the root.
Cosmos is conceived as a contemporary extension of comic book narratives of the popular Amar Chitra Katha comic book series.
The popular myth of the race around the universe between he and his brother Kartikeya (where Ganesh simply circles his mother to achieve that goal) is illustrated here.
In the ongoing stream of mutuality between person and object, the objects forge our bodies and vice versa. Tools of many sorts extend human physicality and mentality into the world. These forms explore the interaction of seemingly abstract objects, adapted to our own spaces and the possible denotations and connotations we can attribute to them.
This marks the first time my 2D collage is converted into 3D space using Monster Mash and DeepMotion programs.
These inflated photo sculptures are injected with my stilted movements via AI body tracking. The result is a playful motion study composed of colourful collaged characters that reveal accidental expressions.
In 3D, a massive piece of ore is shattered into twenty pieces of varying sizes.
Shadows play over the ore’s craggy grey surface.
The heavy chunk of ore resembles a large broken rock.
Faire de l’espace (Making space) is a digital megalith that substantiates coveted ore and rare earth elements found in our finite concrete world.
The piece addresses the underlying technological shortages that our world faces in rendering the limitless content creation of an ever-growing metaverse.
For a project entitled Free Sugar the artist has satirically claimed to “repair” the holes in people’s lives with pink icing. This has led her to “repair” holes in domestic interiors, urban landscapes, nature and on the body to illustrate how poorly chosen and administered quick fixes can cause more harm than good. For the Artificial Museum, she is employing augmented reality to create an apocalyptic landscape that attempts to “repair” the city by covering it with pink icing. In link with the current pandemic, this tongue and cheek work explores the impact a harmful substance can have when it infiltrates the world and accumulates.
In a 3D image, two female stone figures perch on a large rock on a brown sand shore.
The figures sit casually with their backs to one another, one younger and one older.
Bathed in moonlight, they are backed by a starry sky.
A shrine of moonlight is created from 3D scans and video. Both videos, Bijoux (2010) and Moonlight (2022) capture moonlight and were shot in Canada and Chile respectively. The two figures are my Chilean mother and my Canadian fiance, and the work reflects on the important dualities in my life.
In a looping 3D animation, a bluish-green figure stands holding up a pink tulip with one hand on its hip.
The figure’s bare skin resembles the texture of a helium balloon. He has wide eyes with red pupils and a pink toothy grin. Atop the figure’s head are rounded lumps, similar to bunny ears; one tall and one shorter.
Offering the flower, the figure stretches up and morphs through various distorted forms as the tulip droops and dies.
Whether we are living on Earth or in space the call for community and care reigns supreme. What decisions are we making to harmonize with each other and with nature? Can we be held accountable for our actions? What. Are. We. Doing?
Four hard drives are nestled in a garden amid metallic flowers. The colourful rectangular drives have different coloured cases - one orange, one green, and two blue.
Reaching over the garden, vine-like tubes connect the intricate metallic flowers with gemstone centres. The hard drives rest in the ground that resembles fluffy white clouds.
Hard Drive Elysium is a strange and colourful garden where hard-drives of a bygone era go to rest and their knowledge is absorbed by the surrounding bio-digital flora. Data travels through tubes connecting a mycelial network of surveillance flowers. The scene evokes a distant future where plants triumph.
In an interactive 3D image, a tangled chrome structure emerges from a hole in the ground. The smooth alien-like metal form gleams with tinges of pink and purple. Pink flora sprouts across the top of the twisting and turning structure.
Under the form are remnants of an old highway. Upon closer inspection, vehicles and roads with barriers peek out. Pink flowers and foliage sprout on the sections of forgotten highways that lead nowhere.
An unused highway is buried underground, no longer useful, flora and fauna grow on its surface. Another form emerges from the ground, much larger and more alien, it impregnates the world with its glossy digital essence. highway/tumor imagines a world where humanity has moved on from the drudgery of urban sprawl and entered into a new realm of tropical alien.
The image of my mother in the middle of the words of her poem. I love the idea that her poem and her photo live in the same universe. My mom came to Toronto a few times and I remember she liked Kensington Market.
The lunar physiography occupies a place of geological and cultural reflection. We regard this seemingly generic and neutral topography as being inherently devoid of life, subsistence and tangible cultural artifacts.
Yet this pockmarked ball of geological dust, is vibrantly inhabited by our historical and contemporary cultural imagination manifest in science, engineering, literature, song and mythology.
Its seemingly empty troposphere is permeated by a vast tableau of immaterial content from data science to mythology. Luna luna is an ongoing research-creation investigation seeking a cartography of these phenomena.
Having moved from Toronto 2 years ago, this piece collects some of my personal memories of this site, the neighbourhood where I used to live and share a studio at Pix Films.
These are some flashes of memories: emotional phone calls, an accident I witnessed, delicious food that no longer exist due to gentrification, heartbreaks and bike rides and queer weddings I danced to and drag queen wigs I picked up along these streets that are no more.
Memories merge, collapse and interrupt each other, but they are, for now, still remaining as fragile ephemeral monuments anchored from an invisible thread to the gravel.
In 3D, a crystalline formation hovers above the moon’s surface. Cubes randomly dot the surface of the geometric formation. Each cube’s face has a solid colour: yellow, red, purple, green, light blue or dark blue. Some areas on the formation are bare and grey.
A crystalline formation hovers above the moon's surface.
Geometric fractals extend from the structure, symbolizing human exploration and the drive to understand the unknown.
Fractal patterns have a child-parent relationship, which parallels our view of the solar system as a familial configuration.
A large translucent egg rests in a nest just big enough to contain it.
Inside the egg, a mosquito is poised to bite. The realistic mosquito has a slim segmented body, wings and a needle-like stinger for its mouth.
The brown nest resembles a bird’s nest with a neat arrangement of sticks, twigs and leaves.
Nest Egg looks at human technologies developed by observing the natural world (e.g. mosquitos and hypodermic needles) and how this practice is worth protecting and sharing with interplanetary lifeforms. It also warns that the human animal is a bloodsucking extractor of resources wherever it roams.
A bike ride through Toronto's waterfront was filmed with a 360 camera, then depth maps were extracted from the footage, and a sequence of drawings generated as the final result.
In a 3D image, a passageway floats on the side of a narrow street in Austria near a gym, hotel and shops.
Inside the passage, a figure twirls a flag on the surface of the moon. A collage of images adorns the flag. The collage depicts photographs of people in peril juxtaposed with images of nature. The same collage is in the background surrounded by discarded segments of a roller coaster track.
Above the long-haired flag-twirler, a superimposed hand flips through sticky notes with scrawled words including Transport, Perception, Speculation, and Interrelation.
This artwork considers flags as symbols — both on earth and the moon — and documents transmissions between the artists over a year of research. 2D imagery, 3D models and AI-collaborative sound depict ghostly dualities: moon/earth, nature/industry, bodies/avatars, digital/real, sculpture/debris.
Reflection, Obsession, Artifice and Self was sculpted entirely in virtual reality. This sculpture garden is meant to have us reflect on the human experience and how it intersects with the digital world. The work is an assembly of parts from several different sculptures - reordered to break and recontextualize the meanings they previously held. The figure at the center, representing the individual, floats above a reflecting pool and contemplates the shifting forms of the surrounding sculptures invoking ideas of power dynamics, creativity, control, fetishes, nature, emotion, the body, alienation, society, art and artifice.
A hopeful reminder of the necessity to reconnect with each other after the long periods of isolation we all experienced during the pandemic. It is a play on the stillness that enveloped our existence and a reaching towards that celebrates the fact that we are still alive.
The artist extracted shapes and symbols of interest from a collection of unfinished embroidery work from her teaching practice. Each motif, then, exists in the digital space in a new context that the viewer is invited to define. By navigating through and around this monument, new patterns emerge in relation to its environment. The artist lends this agency to the viewers to determine new possibilities for these otherwise neglected, unfinished embroidery motifs to exist.
Madi’s filmmaking practice centres the materiality of analog film, as well as the optical machinery used for the production and projection of images. She often experiments within this medium as she translates her work into the digital realm.
The work was inspired by Madi’s curiosity for marbles aswel as mushrooms. The (Other) Cat’s Eye Marble consists of a spherical marble form and a morel fungus encased in gold. These two shapes reference the dichotomy between the power struggles amongst humans, their cultural geographies, and their use of natural resources.
As these objects collide, the preciousness of a gem is formed. Do we forget ethical consumption when faced with aesthetic beauty?
Blue cosmic flowers begin to grow and saturate the landscape thus transforming it into a Cosmic Garden of hope and celebration. This work is meant to inspire a sense of playfulness, joy and cosmic whimsy.
Reflecting what was once there.
They had a plant, and that plant was left here.
They had a plant is part of a larger project entitled Plant of the lie and the truth. Based on a significant plant on the oral tradition of the Afro - Colombian community of San Basilio de Palenque(Colombia).
In a 3D image, five individuals frolic together on the surface of the moon: a girl, a boy, an alien, a baby and a dog. All of the individuals resemble balloon shapes.
The girl wears rainbow-striped pants and holds the baby. The boy cartwheels wearing blue. The alien and dog play nearby.
The moon’s surface has a colourful swirl. They play with bright balls.
Five individuals, a girl, a boy, an alien, a baby and a dog are sent into space to find new worlds. They left their imperilled planets and landed on the moon. All refugees now, but ready to begin again, they bring a sense of the wonder of life on earth and find, not only a new world, but each other.
Coca-cola chairs can be seen commonly in the Mexican landscape. They represent ideas of gatherings, community and commercial identity. Each stackable chair contains slogan fragments found in the Mexican cardboard boxes from Latin Markets in Ontario. The cardboard boxes contained goods and products from Mexico. Units Pa' Ya!(2022) explores the notion of circulation and exchange of information of dominant ideologies. The artwork arose out of the need to critique the messages found in the circulation of such products of capitalism. How and where do that stereotypical depictions form?
Drawing upon the shapes, colours and textures of the unwanted plants growing in Kensington Market, these works consider the complications and contradictions of archiving, human and other-than-human entanglements, and the visual strata of the places we call home.
Creatures appearing and disappearing as we walk around. An experiment on sculpting objects, making them move and hide in space.
Everyone has been in the house too long. Now that the quarantine restrictions are loosened, the kids want to have fun and party with a tough crowd. Their babysitter is stir-crazy too.
The distortions possible in 3D permit me to explore desire and human contradictions free of constraints. Like many monuments, it celebrates freedom.
c/o Creative Cluster
Augmented reality on Android requires Chrome 81+ or Brave 1.25+.
1. Click below to copy the
2. Download the
webbrowser for ARMozilla Webxr Viewer
3. Paste the link into the webxr viewer.Open in WebXR Viewer
Currently, only Blink based browsers support augmented reality. This includes Brave Browser, Google Chrome, Samsung Browser and others.
Your version of chrome is too old and does not support augmented reality.
If you insist on continuing, just press this button:
Please use a different browser for the artificial museum, this browser is missing some critical features and will not provide an optimal experience.
If you insist on continuing, just press this button:
Your device does not support webgl.
This means you can not start the augmented reality of this artifact.
We prepared a preview mode, do you want to start it?
We detected that you are in a city we have artifacts in.
Do you want to teleport to your location?
Your location could not be determined.
Maybe you disabled GPS Services, or your device does not support gps.
You seem to be located outside this city.
searching for floor
swipe to reposition