The Ecotone is a post-apocalyptic utopian society where inhabitants live a life informed by two distinct communities. An ecotone may appear on the ground as a gradual blending of the two communities across a broad area, or it may manifest itself is a sharp boundary line; therefore, the Ecotone as a methodology involves embracing complex interactions between opposing forces. One way I approached image making was by feeding information from one medium into another - blurring the lines between where the digital begins and where the analog ends. In addition to creating a dynamic logo: the identity of the country became embedded in every facet of the image making.
In order to maximize social efficiency, cultural uniformity was considered a priority followed by biological/genetic uniformity. For example: their monotonous music reflects the cultural uniformity of a sterile community deprived of any unique characteristics, resulting in moderately entertaining and acceptable melodies controlled by the corporate state. This also demonstrates how the primary function of the music is to keep the citizens docile.
The thick forestation of their land heavily influenced their method for tribal self identification and communication. The lowland tribes have created a harmonic system in order to distinguish their tribe from one another. Their method relies heavily on collaboration: it is physically impossible to refer to the specific name of your tribe independently, considering the name of the tribe is a series of pitches combined to create a chord. However, if a single member of a lowland tribe sings a note, others can still identify the general region of their tribe considering the harmonies were geographically determined and influenced by neighboring tribes. In addition to singing the tribe name they also created water chimes from a native bark (chosen for its strength and acoustic properties): once constructed alongside the moving water, these water chimes create a continuous sound identifying that specific tribe.
As a society they culturally embrace flaws and deeply value unique characteristics for their spiritual significance. People are often nicknamed after their flaws because they are seen as a necessary part of fulfilling their destinies. Culturally they embrace a system that nurtures complex ideas of individuality, independence, radical self-reliance, collaboration, and community.
On November 25, 2200 native colonies were discovered in the hazardous regions of the last remaining rainforest on Earth. After the initial exposure, the people inhabiting the rainforest become increasingly interested in visiting the Corporate State. As a result, drastic measures were taken in order to assess the potential risk of cultural, social, and biological contamination.
Precautionary steps were taken: the Corporate State bombed the borderland between the forest and the artificial city governed by the Corporate State.
The bombing of the borderland contaminated nearby water resources. Some scientists from the Corporate State abandoned their country to assist in the restoration. A new community was born from the destruction. Together these contrasting cultures have synthesized a new culture at the very scar of the land.
We are the outcome of opposing forces; our differences bind us to one another. We are the cultural innovation that was purged from the sterile past, to bring forth a new dawn - allowing each to transcend any and all limitations.
Culturally conscious, uniquely autonomous, malleable, harmonious, euphoric, and consistently inconsistent.
Photography must incorporate "analog filters" such as using fabric material and stretching it over the eye of the camera (shown above) or adding shades of purple ink on transparent material - creating an ethereal and palpable filter (shown below).
What form does a manifesto take when the artist began in the digital world and is now exploring the physical terrain of textures and decay?
Working with materiality changed the way I saw the digital world and the way I thought about glitch aesthetic. During the creation process I explored a variety of topics including appropriation, decay/glitch, alternative realities, lucid dreaming, and living contradictions. My Manifesto came to life as I began to research and curate content from popular films, philosophers, and poets in order to reinterpret the content through my new way of seeing design.
One of the core sources of inspiration came from the Xicana poet and activist Gloria Anzaldúa. I realized that what I found most impactful from Gloria’s poetry and social analysis is her ruthless passion for dismantling strict categories of identities by stating that “identities are not a fixed state of being: it is fluid and ever changing.” She was among the first to defend freedom of expression within the Latino community, specifically, the type of freedom that is often compromised through social conformity and cultural expectations. Her most popular and well-known work covers issues that transcend identities by living in the very “borderlands” that often define and limit us. I began to apply Anzaldúa's conceptual approach towards my own interests of dreams/reality. Inspired by Anzaldúa, I began to question the very foundation of design by exploring the limitations of legibility.
In my explorations, I began to discover the formal qualities of the physical book: touching the book from its thin pages to the thick spine. Now I see a book as a series of beautiful tactile moments that can be exposed & abstracted.
Edges transform, and change in color.
The best moments in reading are when you come across something - a thought, a feeling, a way of looking at things - which you had thought special and particular to you. And now, here it is, set down by someone else, a person you have never met, someone even who is long dead. And it is as if a hand has come out, and taken yours.
Beginning in 1921, the bluff located south of Playa del Rey was developed as the town of Surfridge. Just to the east of the coastal town, a small airport called Mines Field opened. After building the streets atop of the sand dunes, custom homes were developed across the area which became one of the most exclusive residential areas in Southern California. The emerging neighborhood of Surfridge was initially described as “a playground for the wealthy.” Prior to 1945 it was only wealthy caucasians who were allowed in Surfridge. The once small airport became what we know today as the Los Angeles International Airport (L.A.X.). Beginning in the late 1960’s, after the advent of the jet airplane, a great deal of the neighborhood became condemned due to increasing airport noise pollution.
Rusty fire hydrants, broken lampposts, and driveways that lead to nowhere is all that remains of Surfridge. Today, Surfridge is the most exclusive and prohibited ghost town in the Los Angeles area.
Breathing life back into the artifacts that exist
in the perimeter of our spatial & historical awareness.
After further research and extensive documentation of the site (selected images shown here): I began to experiment with my own interpretation of the space by using the silhouette of the original homes of Surfridge to serve as a container for found artifacts. From these images I created a series of posters (shown below).
I experimented with the action of decay and layering as a method for bringing the past and present together.
My goal was to show the potential the restricted area has in communicating historical narratives; such as the way in which this wealthy town lost its value due to the technological innovation of the jet airplanes.