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Snakes and Adders​, 2019

Created for UN/GREEN exhibition at Latvian National Museum of Art (Riga, Latvia, 2019). More information on the project available on: santafrance.info/snakes-and-adders

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Disquiet, 2019

From solo show Safeporting at KIM? Contemporary Art Center, Riga

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Nodes, 2019

From solo show Safeporting at KIM? Contemporary Art Center, Riga

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Infatuation, 2019

From solo show Safeporting at KIM? Contemporary Art Center, Riga

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Distraction, 2019

From solo show Safeporting at KIM? Contemporary Art Center, Riga

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Disarray, 2019

From solo show Safeporting at KIM? Contemporary Art Center, Riga

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Illustration for a feature on the evolution of post-internet music by Adam Harper for Red Bull Music Festival Berlin, 2018

🔗https://www.redbull.com/int-en/evolution-post-internet-music🔗

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Illustration for a feature on the evolution of post-internet music by Adam Harper for Red Bull Music Festival Berlin, 2018

🔗https://www.redbull.com/int-en/evolution-post-internet-music🔗

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Illustration for a feature on the evolution of post-internet music by Adam Harper for Red Bull Music Festival Berlin, 2018

🔗https://www.redbull.com/int-en/evolution-post-internet-music🔗

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Glass-Half-Full, 2018

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Paper Shredder, 2018

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A Matter of Respiration #3, 2018

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A Matter of Respiration #2, 2018

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A Matter of Respiration #1, 2018

From a new series of animated compositions currently displayed in Terre / Mer / Signaux (April 7th — July 7th, 2018) at Espace Multimédia Gantner; Bourogne, France.

Also featuring work by Alan Butler, Gregory Chatonsky, John Gerrard and Nicolas Sassoon. Curated by Nora O Murchú.

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What Was Your First Contemporary Art Encounter?, 2018

Illustration for Kim Docs digital quarterly magazine.

Its first issue is dedicated to the question of audiences. Many questions will pass through the scrolling pages. Who exactly is the contemporary art audience (historically, conceptually, statistically, etc.)? What does it mean for an institution to create its audience or, to make the question more interesting, how do audiences create institutions and influence programming and the scene itself? What choices does an audience have while being entangled by the artistic realm, capital, curatorial frameworks, state, etc. into this gallery-museum-capital-state-complex of contemporary art?

You can read the textual recollection & about my additional investigation on pages 68 to 70.

Excerpt:

A white, rectangular podium the size of a single bed was placed in the middle of an otherwise empty room. The main lights were dimmed, and a blue tinted beam shone straight down from the ceiling casting a video projection onto the flat surface. It portrayed a barely dressed woman. She was lying peacefully, breathing steadily under these translucent sheets. At moments she shifted in her sleep, pulling the projected fabric with her. These brief shifts startled yet fascinated me.

The contact between the two-dimensional human figure and the solid surface reminded me of an examination table from an age-restricted episode of “The X-Files” that I might have secretly peeped at through a gap in the living room door. This last deduction only increased my uneasiness. None of the teachers or museum staff was present, yet I had a vague notion of not being allowed to watch this woman sleep, as if the view was out of the unattainable adult world, too uncomfortably intimate for me to witness.

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Interior #15 / Waiting Room for a Botanical Garden, 2018

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Having fun with reflective materials & letting some particles loose.