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my funky plant finals

my mum found the dick pic in the scanner

we haven’t talked about it since

exp

the last page of our pdf is my submission in order to try and prompt a future of the unknown (cheesy, i know). but i think the words “how long do we have left” (HLDWHL) was once feared- as was death, and summarises a lot of the ideas my group and i present on our pdf about the future of death. unlike before, people are less superstitious and can talk about death more openly, and i think a large part of why we’re able to is because rely on the future of science to conquer humanities inevitable enemy. hldwhl not only brings up ideas about speculative immortality and our past perspectives on death, but also encompasses all the subjectivity one usually has with their own future: am i scared of death, am i scared of my future, what will happen once i die, what will happen in the future etc. it brings up questions that perfectly mould future and death together, and with the layering effect of the hovering mouse, it symbolises confusion and/or fear, the unknown, darkness and avoidance.

this was probably my first experiment in coding, and i used one of the simplest codes to make my text work shiver but i thought there wasn’t enough of what i wanted to say about the future of death so i played around with it. i chose grey because i thought it was a mutual tone to end our whole pdf: black meaning death (obviously) and white being its antithesis- therefore grey stands as being neither both; it’s not a bad ending, but it’s also not a happy ending for our future of death. we’re kind of just always in this limbo of thinking about death. anyway, this is the final result: http://openprocessing.org/sketch/225806

#cofa1002 #2ass3 #2ass3exp

STICK FIGURES ARE USUALLY THE LIMIT OF MY SKETCHING SO plsdontjudge

one thing that i have always been astounded by is the advancement and future of science. i honestly feel like we’re currently in the future of science, because i still can’t believe genetic engineering is a thing and that we’re actually able to practice it. so when i began to research genetic mutations i began to remember the radiation mutation of that flower found in Fukushima in Japan this year:

THIS IS CRAZY AND BEYOND NORMAL AND TBH NOT OKAY AND IM HONESTLY SO FREAKED OUT ABOUT THIS THING BEING ALIVE

and so it got me thinking: if decomposed flesh is apparently “great for gardening” when will nature catch up with science and build its own organic genetic mutation? so i did some sketches with flowers growing brains and muscles and hands and all kinds of really fucked screwed up features. idk it’s terrifying but i think its a really possible “what if” that might happen. when or if that actually happens (growing eyeball flowers i mean) are we considered murderers if we accidentally step on a genetic plant?orwhen these plantoids are discovered, will they be categorised under humans or plants?????? hMMmMMMMMmMMMMMm plant food for thought

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just going from that frozen-in-time-revival-of-future-self-immortality idea, i casted my finger in silicone then recasted it in ice ice and then made a plaster cast of my finger in order to capture the future skin texture of the revived. i chose to use plaster because theres also this thing called WATER CREMATION which i also became really interested in researching. apparently, the ashes are white when ‘cremated’ so i thought that plaster would be the best material to show the wrinkles of skin and to heighten our ideas about the future of humans and perspectives of death. karin said that i could take this further by showing me ICE WALL which i thought was perfect for our topic because it shows a possible “regeneration” quality to it. i then thought about trying to plaster cast flowers but i knew that would be too difficult (with how thin the petals are) but also because i really wanted to continue my idea and focus on texture. but i really loved the idea of using petals/flowers because i think it also highlights our modern recyclable and reusable culture. i then thought to use flower tea (specifically, chrysanthemum tea) because its blooming is essential blossomed by water. so i decided (however far fetched) to bloom the flower tea by using plaster. and i think it sorta worked.................aM I A GENIUS

i’m really proud of this one. not because it looks ugly as heck and so unaesthetic, but i think my ideas are really strong in this one. hopefully i went the right direction though.

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talking to myself p.3: ugh

today we received some feedback on our draft pdf and im glad we did because now i know what to improve on

for one of our pages i designed an online application form and this whole assessment has got me thinking about how people handle death. i read a couple of eulogies but i can’t relate to any of them so i thought about the last person who had died in my life. i feel obliged to dedicate a small portion of the pdf to him and i was thinking i could do that through this application that i created. since it is an application format, i think im going to write from his perspective and i’ve done a couple of failed drafts but im not going to lie, its hard. i remember him by the impact he’s made in my life, but i dont think i can capture his essence. i dont know what qualities he wouldve included into this form if he were still alive, so i can only assume his greatest highlights. i don’t know. this kinda sucks. but i think it will give it another layer. but it sucks. im uncomfortable trying to be him.

#cofa1002 #2ass3 #2ass3exp

pacegallery

OPENS TOMORROW: “Robert Rauschenberg: Anagrams, Arcadian Retreats, Anagrams (A Pun)” has an opening reception tomorrow from 6 - 8 PM at Pace Gallery 534 West 25th Street. The works in this exhibition were created beginning in the mid-1990s, a pivotal period for Rauschenberg as he developed a new dye-transfer technique. A majority of the pieces in the show come from Rauschenberg’s personal collection.

Images: © Robert Rauschenberg/ Licensed by VAGA, New York, NY; Photography courtesy: The Robert Rauschenberg Foundation. False Witness [Anagram (A Pun)], 1998; Contest (Arcadian Retreat), 1996; Street Peacock (Anagram), 1997.

talking to myself p2: white

interment of the human internet

i think when we consider the future of death, it really relies on our society- our evolving values, social and cultural customs etc. if we look at japanese burial rites of passage, most of the population follows the buddhist method where a priest would come in and purify the body etcetc. shintoism and budhdist are the biggest religious in japa nright now and i think this idea of purity is something that i think will change in the future. in western culture, the white lily is a flower symbolising condolences and i think a big part of why it means that is because of the pure white colour. a sense of calmness to the japanese burial process is somethnig that is also supposed to transcend spiritual boundaries so this is pobably something i want to explore more in the pdf (ugh pdfs)

#cofa1002 #2ass3 #2ass3exp

with the convenience of technology it’ll probably be a lot easier for people to kill themselves

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Notes p.2

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notes 1

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galleria-ari

iheartmyart

Claire Fontaine, Untitled (I’ve stolen it), 2014.

Untitled (I’ve stolen it) (2014), is an animated neon sign that displays four different sentences revolving around the legitimacy of ownership and theft. The text of the sign is inspired by a chapter of the historical book by R.D. Laing entitled Knots that explores with disturbing depth recurrent double binds and vicious circles imprisoning our free will and condemning us to compulsive repetitions.

______ Discover more art on iheartmyart

See more artwork by Claire Fontaine on iheartmyart. Discover more sculpture on iheartmyart.

supersonicart

Michael Howard, Recent Illustrations.

Recent, absolutely exceptional illustrations by British artist Michael Howard (Previously on Supersonic). These absolutely blow me away. They’re absolutely filled to the brim with creativity.

Please continue below to see more of Michael’s work:

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