According to Sigmund Freud, art-making is a way to express unconscious desires and instincts, I couldn’t agree with this more. Creating art is a journey to explore self-awareness, a conversation between me and myself, a mirror to reflect where I am in the world. “Identity” is deeply rooted in my unconscious whenever I evoke my artistic ideas.
No matter what format of art I am creating, whether it is 2D work or installation pieces, the discussion always starts with the unrecognizable relation between one individual and the environment. Strong emotions like self-contempt, low self-esteem and self-transcendence emerge from this intimate interaction. I express more elaborate and subjective dynamics in my animations, motion graphics and illustrations, which are more focused on an internal emotional examination of myself. For interactive installations, I expect audiences to engage both physically and emotionally. Immersive situations with inspiring visuals and sounds are offered in order to reach a close circle between the audience and me, the artist, and when the loop is formed that empathetic communication happens.
Wood boards, LED lights, web camera, projector
My thesis project, MIRAGE, is an interactive art installation, which addresses and visualizes a virtual environment as an enlarged, fragmented refraction of physical life. It consists of projections on 3 walls and an interactive hopscotch court on the floor. Web cameras collect the participant’s appearance information--including facial features, hair, skin, and clothes. When the participant gets to the end of the hopscotch court, a virtual creature based on their collected data appears and eventually moves into the virtual background where all previous viewers’ Mirage avatars reside.
Backlit film, white print, fishing string, Kinect, projector
Memory. Eventually. Dies. In. Archivism. is an interactive installation that seeks to reappear the situation when people are engaging a brand new media. As technology has developed, the relationship between human beings and the virtual environment has become closer.
Through asking how do we approach the virtual environment, either physically or psychologically, I discuss both the possibilities and the hidden dangers of new media, also, I emphasize the reason why it is crucial that we be aware of the emerging digital media and virtual environment.
Quotes from New Media Theorists are printed in white ink on backlit film panels, and the participants need to use their own projected silhouette to spot the sentences. However, the silhouette gets smaller when the viewer gets closer to the panels, and the direction of the silhouette is also opposite to the viewer's movement, which makes the texts hard to be identified. When people are interacting with their projected digital silhouette, they tend to be more childish, naive, and unaware of the underlying fact that their information is being captured, documented, and used.
Participants also tried to identify which shape belonged to them when multiple shapes got fused. Are these digitally generated shapes only just visual representations of the participants, or have they already become the participants' primal virtual identities?
Memory. Eventually. Dies. In. Archivism. 记忆. 最终. 毁. 于. 归档. 是一个互动装置，试图重现人们参与一个全新媒体的情况。
Terra Firma is an exploration of life as a journey; a journey not conceived simply as displacement in space and time but, also as a symbolic sense of desire of knowledge and research of oneself
Concept and choreography by Grazia Capri
Interpreters: Grazia Capri, Amanda Bouza, Kaity Mayers, Irene Paci
Original Sound by Stefano Cavazzini
Live Music by Martin Nevin
Set design by Grazia Capri
Lights design by Mokshini Gobin
Animation/projection by Sherry Liu and Annie Xiang
Grazia Capri company Production Paris/New York 2019
翻译:Grazia Capri, Amanda Bouza, katie Mayers, Irene Paci
Acrylic, wood frame, web camera, translucent paper, projector
In the project EXIT:, web camera was put in the framework that is similar to the Emergency Exit window on subway trains. With real-time delay effect that is programmed in MAX. Live footage with approximately 10 seconds delay was projected on the "window" -- just like the reflection on the mirror, to simulate the illusion of different passing speed of time.
Fruits, vegetables, helmet, plastic bags, iron plate, projector
Project Day focus on discussing both the temporal and the spacial connection between nature resources and manmade artifacts.
By utilizing MadMapper, I mapped out all the actual objects in daily life; combine with projection of casual street view footage, which is edited with VDMX and projected on the helmet and the steal surface, as well as the plastic materials around to indicates the constrained status of the man-nature relationship.