Leveraging the intelligence of human stem cells, she created “Regenerative Reliquary”, a bioprinted scaffold in the shape of a human hand design 3D printed in a biodegradable pegda hydrogel that disintegrates over time. The sculpture is installed in a bioreactor, with the intention that human Mesenchymal stem cells (hMSCs from an adult donor) seeded onto that design will eventually grow into tissue and mineralize into bone along that scaffold.
“BEYOND CASSINI” uses this narrative to celebrate the accomplishments of one of the most successful and beloved Satellites in space exploration history. As Cassini begins its final flight into Saturn’s upper atmosphere with a mission of disintegration, visuals flash back through time giving viewers highlights of this dying satellite’s life.
Peeping Tom’s dance shoves certain motifs towards the very limits of acrobatics. Yet between bruised, nostalgic people, or people in love, the situations are deeply dramatic and expressed with feeling. This new piece develops the generic persona of the old father, his mythology, his prestige and his ridicule, his pitiable power deleted by gradual disintegration. It is an intensely human portrayal.
“These works investigate movement, disintegration, and disorientation. Here I wanted to enter a two-dimensional frame and find a location that is entropic, fragmenting, spinning, and adrift. These drawings frame a fragment of a larger system that could potentially expand beyond the frame. They start from an exploration of atmosphere, fleeting situations, and environments with a specific kind of weather.”
Paul Chan’s work summons the darkness that envelops us despite the greedy illumination of our cities. Evoking our world on the verge of disintegration, it celebrates the light that emerges in too much light.
The fight is no longer the fight between day and night that inaugurates Murnau’s Faust, but that between the light of the spirit and the light of things. In this shadow theater, under the auspices of a telegraph pole shaped like the Golgotha cross, we witness the rise of the objects of our consumerist societies.
Phones, I-Pods, scooters, whole trains rise to the sky, saved, as the shadows of men fall, hurled to the abyss, like the suicide bodies of “September 11” victims falling from burning towers.
The image, gradually modified along the continuum of projection, carries with it the prophecies of the Apocalypse rehashed by American fundamentalist movements, and the obvious disgrace of a society that celebrates its materialist cult.