Annica: the belief that all things, including the self, are impermanent and constantly changing.
My latest body of work-in-progress is a contemplation of annica, drawing parallels between working as a photo-based artist in the Digital Era and living in the constant flux of real estate development in downtown Austin, one of the fastest growing boomtowns in America. The images in this project consist of photographs of technological disruptions — cracked screens, pixelated images, computer reboots, wiggly icons, jumbled texts — and fleeting local urban artifacts. I layer these images with digital and real paint then combine them with materials in my immediate environment that I interact with everyday — such as tin foil, a shower curtain, construction signs. The juxtaposition of abstract and concrete and computer-generated and handmade, aims to activate the relationship between real and rendered, presence and absence, tactile and intangible. The hyper-saturated color palette, assemblage of fragmented information and material, and blurring of real/unreal and present/past/future states reflects on the breakdown of constructed worlds in flux. As Susan Sontag wrote in her introduction to E.M. Cioran’s book titled The Temptation to Exist, “Existence is no more than the precarious attainment of relevance in an intensely mobile flux of past, present, and future.”