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Nolita, Manhattan, New York City, New York
Corners of Houston, Lafayette, Mulberry and Jersey, Nolita
The Puck Building, originally the home of Puck magazine, is one of the great surviving buildings from New York's old publishing and printing district.
The red-brick round-arched structure occupies the entire block bounded by East Houston, Lafayette, Mulberry and Jersey Streets, and has been one of the most prominent architectural presences in the area since its construction one hundred years ago. The building is further distinguished by the large statue of Puck at the building's East Houston and Mulberry Street corner; this is among the city 's most conspicuous pieces of architectural sculpture.
Puck was, from its founding in 1876 until its demise in 1918, the city's and one of the country's best-known humor magazines. Published in both English and German-language editions , Puck satirized most of the public events of the day. The magazine featured color lithographic cartoons produced by the J. Ottman Lithographic Company, largest in the country, which shared the Puck Bllilding space.
The current building is the result of three stages of construction, all supervised by architect Albert Wagner; the building and its additions read as a single unified composit ion. The style is an adaptation of the Romanesque
Revival, which had reached great popularity in the 1880s through the works of H. H. Richardson. Wagner's Romanesque, however, was not Richardsonian. A German-born architect, Wagner had worked in New York for Prague-trained Leopold Eidlitz, and his version of the Romanesque appears to reflect the round-arched Gernan "Rundbogenstil" that Eidlitz had brought to New York several decades earlier.
The Puck Building remains one of the most striking 19th-century industrial buildings in lower Manhattan. The comic magazine was founded by Joseph Keppler (1838-1894) and Adolph Schwarzman first appeared in German in 1876. Puck's attitude varied from d humor to merciless satire. Politicallv, in Keppler's time, supported the Democratic Party, but it was never a partisan magazine. It ridiculed poiitical corruption, monopolies, labor unions, suffragism, and all forms of graft, extravagance, and unjustice. It reviewed theater and musical performances. It laughed at fashions and different fads.
In March 1885, with the magazine's circulation and success on the rise, Keppler, Schwarzmann and Ottman purchased property on the southwest corner of East Houston and Mulberry Streets to be the site of a building to house both Puck and the Ottman company. The location was at the fringes of what was then New York's printing district, whose -center was the Astor Library on Lafayette Street (then Lafayette Place). The authors of a Puck supplement issued on the occasion of its tenth anniversary wrote that "Houston street marks the southernmost boundary of a region much affected by large publishing houses."
Publishing houses, periodicals, and printers were located throughout the neighborhood during the 1880s and 1890s, and it was a natural choice for Puck. The original building was erected in 1885-86 to the designs of Albert Wagner, but went through several additions and alterations. In August 1890, spurred by the continuing growth of the magazine, Keppler, Schwarzann, and J. Ottman's heirs bought the adjoining property to the south at 281 Mulberry Street and erected an addition to the Puck Building in 1892-93, again to Albert Wagner's design. The two-year delay was caused by uncertainty in 1890, about the potential route of a proposed new rapid transit line.
Although the Puck Building is too late to be considered part of the Rundbogenstil, it appears to show the influence of Wagner's earlier experience with it. Such a connection would help explain both the references to the style as "Renaissance," and its dissimilarity to the then more popular Richardsonian version of the Romanesque.
The enormous red brick structure has been a commanding presence in the neighborhood since the time of its construction. Its identity was further announced by the statue of Puck at the Houston and Mulberry Street corner of the building, where the two main entrances originally met, one on either street. There is also a smaller statue over the Lafayette Street entrance. The larger '"Puck" on East Houston Street was apparently designed by Henry Baerer, the sculptor of the bust of Beethoven in Central Park. The designer of the smaller "Puck" is not known.
The Puck Building today comprises the original 1885-86 structure and the 1892 addition, less the western portion of each removed in 1898; the Lafayette Street elevation dates from the latter alteration, but duplicates the earlier design. The building occupies an irregular lot bounded by East Houston Street on the north, Mulberry Street on the east, Jersey Street on the south, and Lafayette Street on the west.43 Despite the complexity of its building history, the Puck reads as a single structure retaining the integrity of its original design. The original portion is seven stories high, and the addition nine, but otherwise they are practically identical in design and material.
The building's architectural effects derive from the rhythms set up by arches of varying width, within bays of equal width, and from an adept use of red brick which creates the modulations in the piers, the definition of the arches, and the corbeling of the cornice. Cast-iron window enframements, statuary, and wrought-iron entrance gates, and the cast-iron and glass vault-lighting, provide the necessary contrast in materials.
The original section now comprises four bays on Lafayette Street, three bays on East Houston, and six bays on Mulberry. On Mulberry, the bays are defined by large brick piers that run the full height of the building. Each pier is actually in two sections: a wider pier at the first and second stories, and a narrower pier above. Each pier has a small brownstone base and rests on a five-foot high block of polished gray granite; each is banded in projecting brick. Within each bay at the first and second stories is a double-story brick arch, with projecting brick edges. Ihthin the arch, each bay consists of an upper arched lunette and a lower rectangle, separated by a cast-iron transom. The lunette contains a central double-hung one-over-one window, flanked on either side by a swing window topped by a quarter-arch pane. Beneath the spandrel are three large rectangular windows with transoms above and six-paned basement windows below.
The second and fourth bays south of East Houston Street contain secondary storefront entrances; the door replaces the central rectangular window of each storefront. The first and second stories are set off from those above by a brownstone stringcourse, beneath which is a band of corbeling.
The second section of pier, running from the third story to the seventh story, is narrower than the lower section; each is banded and adorned with an elegant iron ornamental tie-rod end at the fourth story, and a smaller one at the top. At the third and fourth story each bay comprises a pair of two-story arches, each half the width of the arches below. These arches rest on small brick piers with patterned brick "capitals." Within each arch are a pair of four-over-four doublehung windows above the brick spandrel, and a similar pair below the spandrel; each window in the pair is separated from the one next to it by a slender cast-iron pier with neo-Grec detailing. The third and fourth story bay is topped by corbeling and a brownstone sillcourse above.
- From the 1983 NYCLPC Landmark Designation report
Flower
This flower was interesting in color with its mini stars jutting from the center, but I really enjoyed it more when I converted it to black and white. I really wanted to reach over and touch the little stars.
Freeman: Removing the quality of color from an image enhance its other qualities. With the modulation entirely in tone, the eye pays more attention to texture, line, and shape.
The softness and texture really stood out with this tonal change.
Edits: B/W adjustment: decreased reds/purples/greens, increased yellow/blues. Smart Sharpened, spot healing. CRF: increased whites, slight vignette.
A small boat sets out from Waterford, upon a huge water, under the protection of the lighthouse at Hook Head. The old mariners’ hymn, Eternal Father, strong to save comes to mind; preferably accompanied by a brass band on a street corner on a cold day, the sidewalks still wet from recent rain, somewhere in working-class north-east England; all growling harmonies and that minor-key modulation, unique in hymn tunes, in the third line.
Let’s hope they return safely; on the day I’m sure they did for the weather turned out fine. But this is a fatal shore, unfriendly to misadventure and casual landings and with a long record of maritime losses.
This is how my bad Arduino code writing skills sound through my Solid State Tesla Coil. My coil is receiving tone signals via fiber optic cable from my Arduino in the next room.
A 1995, 'V.34 (28800)' Zoom Telephonics FaxModem
Details :
PCMCIA V.34 28800
Card Type : Fax, Modem (asynchronous)
Maximum Data Rate : 28.8Kbps
Maximum Fax Rate : 14.4Kbps
Data Bus : PCMCIA Type II
Fax Class : Class I & II
Data Modulation Protocol : Bell 103/212A
ITU-T V.21, V.22, V.22bis, V.23, V.32,
V.32bis, V.34
Rockwell V.FC
Fax Modulation Protocol : ITU-T V.17, V.21CH2, V.27ter, V.29, V.33
Error Correction/Compression : MNP10, V.42bis
NEWS!
"Zoom V.34XE FaxModem named price/performance leader by PC Professionell magazine.
Boston, MA, Feb. 12, 1996 - The Zoom FaxModem V.34XE has been chosen as the price/performance leader by PC Professionell magazine in a comparison of 14 competing V.34 external faxmodems selling in Germany. The award was announced in the February 1996 issue of PC Professionell, a leading German monthly computer trade magazine published by Ziff Verlag GmbH, a subsidiary of Ziff-Davis Publishing Company.
In its review, PC Professionell commented: "The V.34XE FaxModem, a first-time participant, skyrocketed to the front of the pack." The review concluded that the V.34XE's high connectivity and throughput performance, extended status reporting lights, and reasonable cost, plus Zoom's service and 7-year warranty "left the competition behind." "
A nice example of an 'early' modem thats had minimal use. Comes boxed with all cables / connectors, user manual and software you'll need.
Websites :
www.zoomair.com/techsupport/dial_up/external.shtml
www.zoomair.com/techsupport/dial_up/2836C.shtml
Garland Fielder 'Untitled' (Steel Octahedron), 2010, Holly Johnson Gallery, Dallas
Garland Fielder exhibit 'Modulations'
We discovered this Metal-cased Weather-proof Olympus MJU 810 by accident. The vendor said it might have a LCD-screen flicker problem. We spent Christmas checking-out this odd visual "feature" - which was being exhibited by the LCD back-light when previewing a fluorescent lit room. The LCD Back-light was strobing brighter (gaining up?), during the lower modulation luminance from the Fluorescent room lighting. As it wasn't suffering any real malady, we adopted into our Digicam Family, just like any stray Moggie we discover!
photo by Toni Gauthier
Stanford’s Center for Computer Research in Music and Acoustics (CCRMA) presents its annual Modulations festival in San Francisco—an 8-hour marathon of sound art installations and live electronic music. The event begins with interactive and kinetic sound installations by Trimpin and his students; evolves into a sit-down concert of electronic music; and ends with a dance party, with performances by CCMRA artists and guest performers Wobbly and Sutekh.
Listen: A Music and Video Experiment
Featured video art and experimental music throughout the Murphy Art Center -- including Alchemy in Suite 3, Suite 4 next door and multiple spaces upstairs near Big Car. www.bigcar.org
Friday, March 6, 2009.
Big Car's First Friday show for March featured a bevy of local, regional, national and international video and sound artists. All of the music accompanied video art projections. The night included a show of Herron video artists in Suite 214 next door to Big Car (see artist statements below), a program of experimental videos from other local artists in Suite 3 and 4 on street level (J. Andrew Salyer, Jennie Mynhier, Laura Salyer, Jim Walker, Flounder Lee) and a Microcinema screening (FATELESS, Color + Modulation, SLIDE, Hub Culture Retrospectives: Antarctica, Independent Exposure: Asthmatic Kitty Records Edition 2008, The Collected Films of Ryan Jeffery, Op Art, Modular Moves, Jellies: The Art of Nature) also in Suite 214. For more about Microcinema visit www.microcinema.com.
The night's musical offerings in Suite 215 (Big Car's regular space) and in other nearby spaces included performances by Butler University's Ensemble 48 (playing a soundtrack to the silent film "Man with the Movie Camera"), Marck Ferrari, Ben Ishmael Revival, Shiny Black Shirt, Sea Krowns, Ensemble 48, Actuel, Playboy Psychonauts, Stallio, Sky Thing and Tonos Triad.
Also in the street level space that night, Big Car also hosted the installation "Unified Fields" that featured the interactive music and art of duo Mana2 (Jordan Munson, Michael Drews).
The event was sponsored by Microcinema and was a partnership with the Toby at the IMA.
Listen: A Music and Video Experiment
Featured video art and experimental music throughout the Murphy Art Center -- including Alchemy in Suite 3, Suite 4 next door and multiple spaces upstairs near Big Car. www.bigcar.org
Friday, March 6, 2009.
Big Car's First Friday show for March featured a bevy of local, regional, national and international video and sound artists. All of the music accompanied video art projections. The night included a show of Herron video artists in Suite 214 next door to Big Car (see artist statements below), a program of experimental videos from other local artists in Suite 3 and 4 on street level (J. Andrew Salyer, Jennie Mynhier, Laura Salyer, Jim Walker, Flounder Lee) and a Microcinema screening (FATELESS, Color + Modulation, SLIDE, Hub Culture Retrospectives: Antarctica, Independent Exposure: Asthmatic Kitty Records Edition 2008, The Collected Films of Ryan Jeffery, Op Art, Modular Moves, Jellies: The Art of Nature) also in Suite 214. For more about Microcinema visit www.microcinema.com.
The night's musical offerings in Suite 215 (Big Car's regular space) and in other nearby spaces included performances by Butler University's Ensemble 48 (playing a soundtrack to the silent film "Man with the Movie Camera"), Marck Ferrari, Ben Ishmael Revival, Shiny Black Shirt, Sea Krowns, Ensemble 48, Actuel, Playboy Psychonauts, Stallio, Sky Thing and Tonos Triad.
Also in the street level space that night, Big Car also hosted the installation "Unified Fields" that featured the interactive music and art of duo Mana2 (Jordan Munson, Michael Drews).
The event was sponsored by Microcinema and was a partnership with the Toby at the IMA.
The goal was to show the lock on the door and all the texture of the metal door.
Freeman states that black and white allows more expression in the modulation of tone, in conveying texture, the modeling of form, and defining shape.
This image met my vision by showing the contrast of smoothness of the lock and the texture of the metal door.
The image was converted to B&W, some texture was added, the highlights increased slightly, and the shadows lessened.
These plushie steaks glow alternatingly, governed by an arduino board running pulse-width modulation software. I silkcreened the steak pattern myself!
Listen: A Music and Video Experiment
Featured video art and experimental music throughout the Murphy Art Center -- including Alchemy in Suite 3, Suite 4 next door and multiple spaces upstairs near Big Car. www.bigcar.org
Friday, March 6, 2009.
Big Car's First Friday show for March featured a bevy of local, regional, national and international video and sound artists. All of the music accompanied video art projections. The night included a show of Herron video artists in Suite 214 next door to Big Car (see artist statements below), a program of experimental videos from other local artists in Suite 3 and 4 on street level (J. Andrew Salyer, Jennie Mynhier, Laura Salyer, Jim Walker, Flounder Lee) and a Microcinema screening (FATELESS, Color + Modulation, SLIDE, Hub Culture Retrospectives: Antarctica, Independent Exposure: Asthmatic Kitty Records Edition 2008, The Collected Films of Ryan Jeffery, Op Art, Modular Moves, Jellies: The Art of Nature) also in Suite 214. For more about Microcinema visit www.microcinema.com.
The night's musical offerings in Suite 215 (Big Car's regular space) and in other nearby spaces included performances by Butler University's Ensemble 48 (playing a soundtrack to the silent film "Man with the Movie Camera"), Marck Ferrari, Ben Ishmael Revival, Shiny Black Shirt, Sea Krowns, Ensemble 48, Actuel, Playboy Psychonauts, Stallio, Sky Thing and Tonos Triad.
Also in the street level space that night, Big Car also hosted the installation "Unified Fields" that featured the interactive music and art of duo Mana2 (Jordan Munson, Michael Drews).
The event was sponsored by Microcinema and was a partnership with the Toby at the IMA.
A Cyanobacterial filament glides under the filamentous algae. Cells and chloroplasts are clearly visible inside the cell walls. Photomicrograph taken with a Coolpix 885 at 3x zoom, using an Olympus microscope equipped with Hoffman Modulation Contrast optics, oil immersion at 1,000x magnification.
Kate Beck
Modulation , 2010
Graphite of paper on aluminum
12 x 12 inches
PG# KB.0021
Pelavin Gallery is proud to announce a solo exhibition of recent work by American artist, Kate Beck. This show will include large scale poured oil paintings and graphite drawings on aluminum panel. This will be Beck’s first solo exhibition at the gallery, and in New York City.
In this new body of work, Beck continues her engagement with repetitive tonal rendering as a means of interaction between light and shadow, human thought and consciousness, and the dynamic architectonics of space. This time she takes the essence of form further by using aluminum substrates, allowing modulating marks of graphite and poured oil to accumulate and shift amidst the confines of the geometric shapes. Tension oscillates between formalistic geometry and existential space; an allusion to thought and consciousness, and the passage of time.
For more information, please visit pelavingallery.com
The Enterprise (NCC-1701-D) was a Galaxy Class Starship. She was 43 decks think. 1701-D was the fifth Starship to bear the Name Enterprise. She was launched from Utopia Planetia Ship Yards at Mars in 2363 and Commissioned in 2364. She would be launched under the Command of Captain Jean-Luc Picard. It would turn out that he would be her only Captain. In 2371 in an attempt to prevent Soren and the Duras Sisters from Destroying the Veridian Star Lt. Commander Geordie LaForge was kidnapped and released. Unknown to him his visor relayed the Enterprise's Shield Modulation and were able to penetrate the Enterprises Shields in battle. " They have found a way to penetrate our shields". "Lock PHASERS and RETURN FIRE". The battles resulted in damage so bad that the warp core lost containment. Everyone evacuated to the saucer section and the ship separated. The Warp Core Breached destroying the Star Drive and it also caused damage to the nearby Saucer Section knocking out helm control and they crashed into the surface of Viridian III. The Enterprise Could Not be salvaged. In 2372 Captain Picard was given another more advanced Starship. A Sovereign Class.
U.S.S. Enterprise (NCC-1701-E) the sixth Federation Starship To Bear the name.
USS Enterprise NCC-1701 Constitution Class.
USS Enterprise NCC-1701-A Enterprise Class
USS Enterprise NCC-1701-B Excelsior Class
USS Enterprise NCC-1701-C Ambassador Class
USS Enterprise NCC-1701-D Galaxy Class
USS Enterprise NCC-1701-E
OnLine - The Performance - Premiere - Venice Biennale of Architecture 2014 - Fundamentals, Salon d'Armi, Arsenale, opening day, 7th June 2014, Venice, Italy. Face tracking, clmtrackr portrait leaks. Code modulation by Henner Wöhler.
This Lexus did not come equipped with Sirius satellite radio, so Shore Cellular added factory-style Sirius capability right through the existing radio. No FM modulation or distorted sound, just high-quality Sirius audio.
Alain Wergifosse
création/résidence art sonore | Geluidskunst/creatie
Alain Wergifosse, l'ancien Belge des scènes experimentales de Barcelone est revenu chercher sous nos brumes et grisailles l'inspiration pour ses nouveaux projets sonores et visuels. La bas il à travaillé avec son power-trio Obmuz, avec Nad Spiro, Macromassa, Marcel.li Antunez, Cluster, Zbigniew Karkoski, Francisco Lopez et bien d'autres. il à aussi co-organisé les festivals NONOlogic avec Eli Gras et le LEM de GTS.
Il s'installe pendant 6 semaines a la Gare Bruxelles-Congrès qu'il inondera de sons bizarres, d'architectures impossibles, d'ondes radio en très basses fréquences, de microscopies, de modulations lumineuses, d'érosions, de perturbations électro-magnétiques, de quelques dichroïsmes et d'autres abérrations temporaires des champs sensoriels dans une exposition/installation sonore/résidence/atelier en work in progress qui évoluera semaine a semaine pour aboutir le 18 février en un concert bien bruiteux mettant tout l'espace en résonance où Alain Wergiosse fera chanter les trains et flipper les rats.
Alain Wergifosse, Belg die geruime tijd in de experimentele scene van Barcelona actief was, is naar zijn grijs en nevelig thuisland teruggekeerd om er inspiratie te vinden voor zijn nieuwe klank- en beeldprojecten. In Spanje werkte hij met zijn power-trio Obmuz, met Nad Spiro, Macromassa, Marcel.li Antunez, Cluster, Zbigniew Karkoski, Francisco Lopez en anderen. Hij organiseerde ook mee het festival NONOlogic met Eli Gras en het LEM van GTS.
Gedurende 6 weken zal hij het station Brussel Congres innemen en bespelen. We krijgen onbestaande architectuur te zien, microscopische beelden, erosies, lichtmodulatie, electromagnetische golven worden hoorbaar gemaakt. Het geheel is één groot ‘work in progress’ (atelier/tentoonstelling/residentie) dat zijn publiek toonmoment zal kennen op 18 februari in een luidruchtig klankexperiment/concert dat de hele ruimte zal doen weerklinken als een instrument. Alain Wergifosse zal de treinen doen zingen en de ratten doen flippen.
18/02/2016
Photo // Yves André - TOUS DROITS RESERVES - ALL RIGHTS RESERVED
Tel : +32 476 421 267 // yvesandre@gmx.com
Group 4_
Aaron Onchi, Betty Sanchez, Roberto Gutierrez, Frank Durán , Belén Olaya García
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
Fujifilm X-T10 (pre-production), SOOC JPEG
Lens Modulation Optimizer (LMO) OFF
Fuji X Secrets Workshops & Blog
Read the X-Pert Corner blog.
New (e)books:
The Fujifilm X-T1 – 111 X-Pert Tips
The Fujifilm X-E2 – Beyond the Manual
Save 40% with coupon code XPERT40
Die Fujifilm X-T1. 111 Profitipps
7ème Anniversaire du Burn Crew Concept - Palais de Tokyo (Paris)
7th Birthday of Burn Crew Concept - Palais de Tokyo (Paris)
Title: Concha Renaissance San Juan Resort
Other title: Concha
Creator: Toro, Osvaldo 1914-1995; Ferrer, Miguel, 1915-2004; Salvadori, Mario George, 1907-1997; Marvel & Marchand Architects
Creator role: Architect
Date: 1958 (original) 2008 (renovation)
Current location: San Juan, Puerto Rico
Description of work: Renaissance Hotels tasked architect Jose R. Marchand and interior designer Jorge Rossello with renovating and saving this beachside landmark. "[B]y the mid-1990s the venerable La Concha hotel had been shuttered, abandoned and left to rot...Originally designed by Osvaldo Toro and Miguel Ferrer, with an eccentric but utterly loveable seashell-shaped restaurant by Mario Salvatori [sic], La Concha was a beautifully massed, expertly sited, vividly inventive building perfectly in sync with its time. Closely attuning the hotel to its sun-swept setting, the architects created deep-shading overhangs, open corridors, windows and doors that gave onto lush interior courtyards and provided cross ventilation, and beautifully lacy quiebra-sol (their take on a brise-soleil) for further modulation of the light and heat" (Frank, Michael. "La Concha Revival". Architectural Digest. Aug 2009, p. 103-104. Print).
Description of view: View of a model of the hotel with proposed expansion.
Work type: Architecture and Landscape
Style of work: Modern: International Style
Culture: Puerto Rican
Source: Pisciotta, Henry (copyright Henry Pisciotta)
Date photographed: May 13, 2008
Resource type: Image
File format: JPEG
Image size: 2304H X 3072W pixels
Permitted uses: This image is posted publicly for non-profit educational uses, excluding printed publication. Other uses are not permitted. For additional details see: alias.libraries.psu.edu/vius/copyright/publicrightsarch.htm
Collection: Worldwide Building and Landscape Pictures
Filename: WB2010-0258 Concha.JPG
Record ID: WB2010-0258
Sub collection: resorts
Copyright holder: Copyright Henry Pisciotta
Alain Wergifosse
création/résidence art sonore | Geluidskunst/creatie
Alain Wergifosse, l'ancien Belge des scènes experimentales de Barcelone est revenu chercher sous nos brumes et grisailles l'inspiration pour ses nouveaux projets sonores et visuels. La bas il à travaillé avec son power-trio Obmuz, avec Nad Spiro, Macromassa, Marcel.li Antunez, Cluster, Zbigniew Karkoski, Francisco Lopez et bien d'autres. il à aussi co-organisé les festivals NONOlogic avec Eli Gras et le LEM de GTS.
Il s'installe pendant 6 semaines a la Gare Bruxelles-Congrès qu'il inondera de sons bizarres, d'architectures impossibles, d'ondes radio en très basses fréquences, de microscopies, de modulations lumineuses, d'érosions, de perturbations électro-magnétiques, de quelques dichroïsmes et d'autres abérrations temporaires des champs sensoriels dans une exposition/installation sonore/résidence/atelier en work in progress qui évoluera semaine a semaine pour aboutir le 18 février en un concert bien bruiteux mettant tout l'espace en résonance où Alain Wergiosse fera chanter les trains et flipper les rats.
Alain Wergifosse, Belg die geruime tijd in de experimentele scene van Barcelona actief was, is naar zijn grijs en nevelig thuisland teruggekeerd om er inspiratie te vinden voor zijn nieuwe klank- en beeldprojecten. In Spanje werkte hij met zijn power-trio Obmuz, met Nad Spiro, Macromassa, Marcel.li Antunez, Cluster, Zbigniew Karkoski, Francisco Lopez en anderen. Hij organiseerde ook mee het festival NONOlogic met Eli Gras en het LEM van GTS.
Gedurende 6 weken zal hij het station Brussel Congres innemen en bespelen. We krijgen onbestaande architectuur te zien, microscopische beelden, erosies, lichtmodulatie, electromagnetische golven worden hoorbaar gemaakt. Het geheel is één groot ‘work in progress’ (atelier/tentoonstelling/residentie) dat zijn publiek toonmoment zal kennen op 18 februari in een luidruchtig klankexperiment/concert dat de hele ruimte zal doen weerklinken als een instrument. Alain Wergifosse zal de treinen doen zingen en de ratten doen flippen.
18/02/2016
Photo // Yves André - TOUS DROITS RESERVES - ALL RIGHTS RESERVED
Tel : +32 476 421 267 // yvesandre@gmx.com
What happens when you comp work for your good friends at Mountain Goat / First Flight Bicycles? PARTS FOR PAYMENT. New levers! I have to say-I've drooled over these for a while now and love their modulation, fit, finish and overall attention to detail. Definitely an industrial designers lever...
Bearfoot FX version of the Bjorn Juhl BJFE Mint Green Mini Vibe. This one's serial no.149 and #10 of 10 "Threemē" versions painted by Jason Myrold.
Radium 49 Key M-Audio polyphonic Keyboard.
Features
USB connection with power - power it off your laptop.
Pitch and Modulation wheels
999 programmable options
Multi-octave presets
8 little sliders and 8 little dials
plugs for sustain switch, midi out to keyboard and USB, runs off battery, usb or power adapter.
Works great with GarageBand.
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
Aaron Onchi from or(g)A + SPAU
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
Group 4_
Aaron Onchi, Betty Sanchez, Roberto Gutierrez, Frank Durán , Belén Olaya García
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
Garland Fielder 'Untitled' (Steel Octahedron), 2010, Holly Johnson Gallery, Dallas
Garland Fielder exhibit 'Modulations'
Group 1_
Cynthia Castillo, Moises Talavera, Amir Hanna, Guillermo Perez, Osvaldo Andrade
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
Virtually Vogue uses a combination of Xadow Mainboards, Spark Cores, and 3W White LED’s, Pulse Width Modulation Control boards from Adafruit, and lots of batteries.
Group 4_
Aaron Onchi, Betty Sanchez, Roberto Gutierrez, Frank Durán , Belén Olaya García
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
London uk
Jagadish Adhikari
Actor | Comedian | Presenter | Theatre Artist | Media Professional
Gallery
(Professional stills / theatre & film photographs – to be added)
© Photographer credits (as applicable)
Representation
Open to agency representation
Available for casting on international platforms (UK EU Europe / Asia globally as per project)
Personal Details
Name: Jagadish Adhikari (also credited as Jay)
Gender: Male
Year of Birth: 1990
Age: 34 years
Acting Age: 22–48 years
Place of Birth: Thansing, Nuwakot, Nepal
Nationality: Nepalese
Current Base: Kathmandu (NP)
International Experience: France (Bordeaux, Paris)
Housing Options: Nepal, India France (EU uk and globally availability on project basis)
Physical Characteristics
Height: approx. 166 cm
Eye Color: Dark Brown
Hair Color: Black
Ethnicity / Heritage: South Asian / Himalayan (Nepalese)
Stature: Average, adaptable (character roles, comedic & dramatic)
Main Profession
Actor (Film, Television & Theatre)
Comedian / Stand-up Performer
Presenter (TV / Radio – RJ & VJ)
Media & Communication Professional
Languages
Nepali – Native
English – Fluent
Hindi – Fluent
French – Conversational / Professional working proficiency
Dialects / Accents
Nepali regional accents
Indian subcontinent neutral Hindi
South Asian English
International English (European influence)
Stage & Performance Skills
Improvisation
Character comedy
Social realism acting
One-man theatre performance
Street theatre & awareness drama
Voice modulation
Hosting & live audience interaction
Special Skills
Stand-up comedy
Script development & adaptation
Direction (theatre & television)
Communication strategy & media coordination
Social issue–based performance
Public speaking & moderation
Method acting for character roles
Filmography
Film
Mahapurush – Feature Film
Juvenile – Feature Film
Lakhapati Magne – Feature Film
AARYA – Feature Film
By-Road
Pachuto
Radhika
Satidevi
Danaraj
Sath Sath
Pralobhan (Indo–Nepali)
Farki Aune Chu Ma (Indian Nepali Film)
Television / Web Series
Jiwan-Chakra (2008) – Jay (Breakthrough Role)
Bharosa – Actor & Deputy Director
RisaniMaaf
Bhadragol
Sakkigoni
SARKHAR KO SIR
Halka Ramailo
U&I
College Nepal
Theatre
Performed in 18+ stage dramas across 88+ locations in Nepal, including:
Muna-Madan
Death of Happiness
Bahula Kaji Ko Sapna (as Bir Bahadur)
Ek Raat
Ek-Chihan
Numerous social awareness and humanitarian street plays
Awards & Recognition
Best Supporting Actor – NAFTA Awards (2009)
Recognized for contribution to socially engaged theatre and media
Education & Training
Doctorate (PhD) in Management –international university France (ongoing)
MBA – IAE Université de Bordeaux, France
M.A. in Sociology – Tribhuvan University, Kathmandu
Advanced Diploma in Management – Inspire College, London, UK
Acting Training:
National Theatre, Nepal
Hollywood Film Institute (Dov Simens)
Additional Professional Experience
Communication Officer – UN agencies
Media Coordinator & Advisor – NGOs & international projects
Social activist working with:
Nepal Red Cross Society
HEAN
Voice of Development
Availability
Film
Television
Web Series
Theatre
International Co-productions
Festivals & Experimental Cinema
Jagadish “Jay” Adhikari – Official Public Profile
Actor • Comedian • Media Personality • Advisor • Counselor • Researcher • Humanitarian
🔹 Basic Information
Full Name: Jagadish Adhikari
Also Known As: Jay / जय जगदीश अधिकारी
Date of Birth: February 21, 1990
Birthplace: Thansing–04, Nuwakot, Bagmati Province, Nepal
Nationality: Nepali
Marital Status: Unmarried
Family:
All belongs to Government officer & social actovist worker)
Father: Kedar Prasad Adhikari (Government officer & social worker)
Mother: Jayanti Adhikari
Brother: Dr. Ujjwal Adhikari cpunselor and astrologer
🔹 Academic Qualifications
PhD (ongoing Doctorate in Management)
Paris Institute of Management & Technology, France (2025–2027)
MBA – Master of Business Administration
IAE Université de Bordeaux, France (2023–2025)
Advanced Diploma in Management
Inspire College, London, UK (2020–2022)
B.A. in humanit8es and Social Science Tribhuvan University, Kathmandu, Nepal (2014–2018
🔹 Professional Identity
Jagadish “Jay” Adhikari is a multifaceted Nepali public figure an actor, comedian, director, media personality, counselor, advisor, and social activist whose creative journey spans Nepal, South Asia, and Europe. Known for his emotional depth, humor, and social engagement, he bridges entertainment, education, and cultural diplomacy.
🎭 Acting & Performing Arts Career
Early Journey
Began with Red Cross street plays, performing for humanitarian awareness.
Formal training at:
National Theatre, Nepal rastriya nachghar (2008)
Hollywood Film Institute under Dov Simens (2016)
Theatre / Stage Performances (88+ Shows Worldwide)
Performed across Nepal, India, Bangladesh, the UK, France, and Spain. Major plays include:
Muna-Madan
Death of Happiness
Bahula Kaji Ko Sapna (as Bir Bahadur)
Ek Raat
Ek-Chihan
Numerous social, educational, and awareness dramas
📺 Television & Web Series
Jiwan-Chakra (as Jay)
Bharosa – Actor & Deputy Director
RisaniMaaf
Bhadragol
Kya Jamana Aa
Sakkigoni
SARKHAR KO SIR
Halka Ramailo
U&I
College Nepal
🎬 Films
Nepali Cinema
Juvenile
Lakhapati-Magne
AARYA
Sath Sath
Danaraj
Mahapurush
By-Road
Pachuto
Radhika
Satidevi
Bhojpuri & Indian Nepali Films
Pralobhan
Farki Aune Chu Ma
🏆 Awards & Honors
Major Achievements
Best Supporting Actor – NAFTA (2009)
Teej Music Award – Global Actors Association
Appreciations & Recognitions
Honored by:
NRNA UK – Sir Tulsi Ram Poudel (British Army)
NRNA France – Nirmal Aryal
Nepalese Embassy in Paris – H.E. Mohan Krishna Shrestha
Dr. Ram Saran Mahat – Nuwakot Mahotsob
Bagmati Province Chief Minister
Nepal Chambers of Commerce
IME Group Nepal
Minister of Communication, Nepal
Gagan Thapa
French Embassy in Nepal – H.E. Yves Carmona
Malteser International
Shakti Samuha Nepal
🎤 Media & Communication
RJ/VJ & Presenter – Notably “JayHos”
Media Coordinator & Advisor – UN agencies & international organizations
Deputy Director – TV series including Bharosa, Series Aasha, Jiwan Chakra
Stand-Up Comedy – Humor mixed with philosophy & social commentary
Motivational Speaker & Storyteller
🌍 Humanitarian & Social Work
Active contributor to:
HEAN
Nepal Red Cross Society
Voice of Development
Advisor – Utpala Foundation Nepal
Promoting youth leadership, cultural preservation, and creative empowerment.
Uses drama, media, and public speaking to support:
Education
Mental health
Social awareness
Humanitarian causes
🌐 Online Presence & Media Coverage
Featured in:
YouTube (performances, interviews, BTS videos)
News portals: Tourism Mail, The Rising Nepal, Ekantipur
Professional listings: IMDb, Filmweb, LinkedIn, NepaleseArtist.com
Cultural events, cooking competitions, food-safety campaigns
Stage festivals and international programs
📚 Special Interests & Creative Projects
Experimental one-man films
Nepali & bilingual audiobook scripts
Photography and documenting global cultures
Has traveled to 33+ countries since 2009
Exploring themes of exile, identity, humor, introspection, philosophy
Explore8848 – Online Counselling Center
Founder: Jagadish Adhikari
A micro-entreprise counseling initiative offering:
One-on-one emotional counselling
Stress & adaptation coaching
Cross-cultural support
Guidance for international students in Europe
Career & academic counseling
Group workshops & webinars
Services in Nepali, English, and simple French
Mission: Provide accessible, empathetic, culturally informed mental and emotional support.
Clients: Nepali diaspora, international students, expats, and multicultural communities across Europe.
🌟 Personal Philosophy
“From the narrow streets of Nuwakot to the stages of Europe,
my journey has never been about fame —
it has always been about the message.
Art can heal, educate, and unite people across borders.”
Jagadish “Jay” Adhikari
⭐ Signature Quote
“From the narrow streets of Nuwakot to the stages of Europe, my journey has never been about fame — it has always been about the message. Art can heal, educate, and unite people across borders.” Jagadish “Jay” Adhikari
🎭 Acting • Creativity • Art
“Acting is not about pretending — it is about revealing the truth we hide from ourselves.”
“Every character I play teaches me something about humanity.”
“Humor is my bridge; emotion is my language.”
“Art is my passport. It lets me travel beyond borders, cultures, and identities.”
“A single performance can touch a thousand hearts — that is the power of storytelling.”
🌍 Humanitarian • Social Work
“I believe social responsibility begins with awareness — and awareness begins with a story.”
“Humanitarian work is not charity; it is compassion in action.”
“When we uplift one voice, we empower an entire community.”
“Service is the highest form of art.”
🎤 Media Personality • Communication
“Communication is not just speaking — it is connecting, understanding, and empowering.”
“The microphone is a tool; the real message comes from the heart.”
“Media can create narratives, but we must choose narratives that create hope.”
Counsellor • Explore8848 Founder
“Everyone carries a silent story. Counselling is the art of listening to what remains unspoken.”
“Emotional strength is not the absence of struggle — it is the courage to continue.”
“In a foreign land, guidance isn’t a luxury; it is a lifeline.”
“Healing begins when someone finally says: ‘I understand you.’”
📚 Philosophical • Life Journey Quotes
“Life has taken me across 33 countries, but the journey within has been the longest.”
“Identity is not where you were born — it is what you choose to become.”
“The world teaches you geography; struggles teach you humanity.”
“Exile is not always a place. Sometimes it is a feeling we learn to transform into strength.”
🎬 Professional Mission & Vision
“My mission is simple: use art, communication, and compassion to create meaningful impact.”
“Entertainment becomes powerful when it educates. Education becomes powerful when it inspires.”
“I stand at the intersection of creativity and responsibility.”
✨ Short Taglines / Public Bio Headers
These are perfect for posters, websites, or official documents:
Actor. Comedian. Counselor. Researcher. Humanitarian.
Where art meets responsibility.
A storyteller shaped by struggle, service, and global journeys.
Creativity with purpose.
Turning experiences into expression, and expression into impact.
Dr. Jagadish Adhikari (Jay)
Nepalese Actor | Academic | Consultant | Cultural Strategist
Currently based in Paris, France
Contact: +33 7 73 28 75 57
+9779841015016 | Email: drjadhikari@gmail.com
Professional Snapshot
Dr. Jagadish Adhikari, professionally known as Jay, is a multidisciplinary professional whose work spans performing arts, strategic communication, and humanitarian engagement. Known for blending creativity with institutional expertise, he bridges theatre, media, and advisory roles to advance social awareness and cross-cultural dialogue.
Actor / Director / Comedian: National theatre, TV series, and films (including Chakkar, Juvenile, and Sakkigoni).
Consultant / Advisor: Strategic communication and humanitarian programs for UNICEF, UNDP, and French Embassy Nepal.
Academic: PhD in Management (ongoing), MBA from IAE Université de Bordeaux, MA in Sociology from Tribhuvan University.
Cultural Engagement: Founder/Contributor of Explore 8848, fostering international cultural exchange.
Professional Experience
Customer Service – Grand Hotel General Restaurant, France (Oct 2023 – Present)
Senior Counselor – Study Destination Centre Education Consultancy (Nov 2019 – August 2023)
Advised students on academic pathways, managed client relations, supported international education processes
COMMunication Relationship Officer – UNICEF WASH Program partnerships woth SSC Sunrise Social Club Nuwakot Nepal (Jan 2013 – Sept 2019)
Administration, event coordination, stakeholder relations
Character Artist – National Media Production (Chakkar, Juvenile, etc.)
Drama Actor / Director & Stand-up Comedian – Active in national government cultural programs like radio nepal nepal police nepal army rastriya nachghar m art theater mandala theater actors studio Kantipur film academy Oscar film academy and polygon college for masters in journalism since 2008 till date..
Education & Certifications
PhD Ongoing
MBA completed – IAE Université de Bordeaux, France
BA humanities and social sciences – Tribhuvan University, Kathmandu
Certofied English Proficiency from london uk TOEIC Speaking 160 (Level 7), Writing 155 (Level 7)
Professional Memberships: Film Artistes Association of Nepal & UK Artist Unions (ID: 00274)
Driving License: nepal and UK Provisional (Categories A, B, f, k, p)
Specialized Training & Recognition
UNICEF Nepal: Training on Harmonized Approach to Cash Transfer (HACT)
GATE College: Certificate of Appreciation for contribution to World Food Safety Day
Cultural Corporation (Sanskritik Sansthan): Recommendation for promoting Nepali culture
Acting National theater nepal
Hollywood Film Institute under Dov Simens California usa
Cover Letter (Summary)
I am writing to express my interest in a professional position within your organization. With over a decade of experience spanning education consultancy, administration, and the creative sector, I bring a unique combination of strategic thinking, creativity, and public engagement.
My career combines international academic expertise (PhD and MBA) with hands-on experience in performing arts, including theatre, television, and film. I have contributed to UNICEF, UNDP, and cultural initiatives that link policy with public communication.
I am confident that my interdisciplinary experience and adaptability would allow me to make a meaningful contribution to your organization. I look forward to discussing how my skills align with your needs.
Yours sincerely,
Jagadish Adhikari
Wikipedia-Style Biography
Jagadish Adhikari (Jay) is a Nepalese actor, presenter, academic, and consultant. Born in Thansing, Nuwakot, Nepal, he began his career with street theatre for social awareness under the Nepal Red Cross Society. He later trained formally at the National Theatre of Nepal and the Hollywood Film Institute (USA).
Adhikari has appeared in TV series (Sakkigoni, Halka Ramailo), films (Chakkar, Juvenile), and multiple stage productions. He served as Deputy Director of Nepal Television dramas Bharosa and Jiwan Chakra.
Academically, he holds a PhD in Management, an MBA from IAE Université de Bordeaux, and an MA in Sociology. He has worked with UNICEF, UNDP, and the French Embassy, contributing to development communication, DRR, and institutional accountability worked woth Mr Jagadishwor Thapa.
Currently based in Paris, France, he contributes to the Explore 8848 cultural initiative, fostering international cultural exchange.
Artist’s Statement
I come from a land of hills where stories are not written—they are lived.
My earliest stage was the street, my first audience a community, and my first purpose service.
I perform because listening alone is not enough.
I study because feeling alone is not sufficient.
Theatre taught me how emotion moves people; management taught me how systems move societies. Between these disciplines, I learned that human dignity is both an art and a structure—fragile, yet designable.
I exist between stages:
Between the village and the world
Between comedy and consequence
Between exile and belonging
When I perform, I do not escape reality—I return to it with sharper language.
When I consult, I do not abandon creativity—I apply it where policy meets people.
Explore 8848 is not a brand; it is a metaphor: ascent without domination, ambition without erasure, and global movement without forgetting origin.
I seek convergence—where laughter reveals truth, governance remembers empathy, and identity survives movement. I am a student of systems, a practitioner of performance, and a witness to migration. What I offer is not perfection, but presence—on stage, in policy, and within the ongoing conversation of belonging.
"(from) Lymph Nodes with White Blood Cells and Macrophages #4," Oil, latex, and resin on panel
"“What is the measure of progress? . . . We can measure it in the rate of species extinction. We can measure it in pollution, in the toxicity of the world. Those things, like power and speed, are perfectly measurable.” Wendell Berry: “The Myth of Progress”
These Lymph Nodes paintings are inspired by Berry’s perspectives on the “myth of progress” and questions the efficacy of a seemingly wholesale adoption of chemically enhanced living and the resulting impact on biology.
Unfortunately, the positive embrace of scientific advancements that make our lives better is often countered by the consumption of chemically modified food products, the over-use of pharmaceuticals, and the impact of negative corporate externalities and agricultural by-products that pollute our air, water, land, and bodies. Undoubtedly, chemicals enhance and save lives, but they also damage and end lives. There is a certain irony in that we often engage chemicals to do battle with diseases possibly caused by other chemicals.
The Lymph Nodes paintings explore the cellular mutations of our bodies triggered by cancer’s rogue growth. Abstracted biological micro interiors combine with infusions of festering bumps and dots that envelope and penetrate, at once representing chemical permeations, spreading biological growths, and invading molecular forms or patterned modulations that shift the forms from their organic state to a more artificial realm. These figurative transformations represent the unnatural modifications of our natural interior environment."