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.

Celestial bodies appear as molecular structures with planetary shapes - retreating, expanding and in motion.

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.

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.

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.

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.

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.

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).

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.