Past Project (2021-2022)
What are the pathologies assumed to manufacture the harmonious appearance of the cultural phenomenon of globalization?
Does all-encompassing globalism and commercialism lead to cultural homogeneity? What are the effects of cultural homogeneity?
Will there always be tension to subvert the domination of cultural globalism and imperialism? Then will it never be fully adapted, or will it become the dominating culture with coexisting minority cultural phenomenons?
Globalism being the new factor in the ever-changing cultures, what are the consequences during its process and growth in unionizing cultural practices?
With the factor of commercialism, will it become pseudo-culture, or as long there are narratives, it can serve as what people deem in their perception as “genuine” culture?
How is iconography used in the pursuit of a harmonious appearance in relation to external and internal tensions?
How can you show this continuous pursuit?
How does iconography change in the context of capitalism?
How do you show the pathologies of concealment?
This video consists of me summarizing my forming thesis and the direction of this project. Please note that I accidentally stated, "Mao Zedong exiled Ai Wei Wei", when in fact, I meant "Xi Jinping exiled Ai Wei Wei".
Please Sponsor My Childhood, 2022, 60 in x 40 in
This is Why I Hate Family Supper, 2022, 60 in x 24 in
Dragon Kings: The Movie, 2022, 10 ft x 4 ft
Museum of Cultural Icons, 2022, 8ft x 4ft
First installation of four life size digital photomontages and two binders on pedestals (2022).
The binders consists of “profiles” of all subjects in the photomontages, and written in the perspective of an individual studying cultural forms in contemporary capitalism.
Example Profile, 2022
This is an example “profile”, that was intended to be composited in a clinical format with a hint of satire in the language. This is written from a perspective of an individual that did not experience contemporary capitalism in culture.