Exploring the means of my fragmented self, this painting aims to show the fluidity of interchanging personal and social norms in the post-communist society of Romania in the early 2000.

Hunting after fragments of myself

Eye Mess

2021
Black ambrotypes in artist's frames, diptych

Lazy Semaphores

My work investigates the parallels between the action of painting and lived duration in order to reassign the boundaries of time as a construct. 
As part of an explorative body of work which investigates the potential of a non-linear timeline, Blue Is A Magic Number highlights a more playful and absurd side of my practice. 
My paintings seek to deconstruct notions of time which we accept without question. Why do we measure time in a quantitative fashion? Through altering the phrase 'Three is a magic number', to introduce a qualitative aspect (blue), I invite the viewer to consider my alternative perception of time, where time can be visual or physical. Replace 'three' in a sequence, a timeline, or a clock, with blue, and suddenly these constructs of time are nonsensical. 
A viewer singles out blue elements within this painting - they construct an image of 'blue' which replaces a linear aspect of their perception of time to create their own version of my visual timeline. They then begin to isolate other colours, considering the interrelationships between them. They are able to map out the sequence of time held within this painting.


Blue Is A Magic Number

2021
Archival pigment print, sandblasted glass in artist's frame 

Yeux You

The painting reflects the changing relationship beween man and world. It testified to the existential questions.


Tabula rasa

'Dark Nature' fuses my love for fashion and art to create editorial fashion images of head pieces and masks showing nature taking over the human form. I drew inspiration from textures found in nature and fashion designers Alexander McQueen and Iris Van Herpen. This project demonstrates my passion as it includes the three things I love the most (nature, fashion and art), I find happiness walking in nature, especially during lockdown, so creating forms showing nature taking over using fashion elements represents serenity to me. 

Artist Instagram @lauraalicefosterart
Photographers Instagram @chrisbentleyphotography

Dark Nature

This digital artwork blends surreal moths, ever-watching eyes, and repeated affirmations into a hypnotic tapestry of emotional support. In warm pink and red tones, the piece captures the tension between self-observation and inner reassurance. The moths carry quiet messages—“You are enough,” “Somebody needs you,” “You will be okay”—offering comfort amidst the visual chaos.

  
Every eye seems to see you, yet every wing offers protection. This piece serves as a visual mantra—a gentle, persistent reminder that you matter, even when you doubt it.

  

Between Gazes and Messages

This digital illustration explores the quiet weight of mental health struggles and self-doubt. At the center is a small dachshund with sad, questioning eyes, wearing an oversized, whimsical hat and holding an empty bowl labeled “Am I Enough?” The background is filled with a stream-of-consciousness narrative—an internal monologue highlighting feelings of pressure, fear, isolation, and the desire to be accepted.

  
Key words like “ALONE,” “HEAVY,” “AFRAID,” and “QUIET” are emphasized in bold, colorful text, echoing the emotional burden the figure carries. The juxtaposition of a childlike, innocent character with such heavy emotional themes underscores the silent battles that often go unseen.

  

Choked by Pressure

A seemingly cheerful squirrel sits behind a drum set, lit by the glow of a surreal spotlight. At first glance, it appears playful – but the scattered items around it tell a different story: a broken beer bottle, pills, a cigarette, a red thong. This contradiction between the cute protagonist and the dark accessories symbolizes the destructive pressure of performance and public expectations.

  
The oversized mushroom hat, both whimsical and weighty, reinforces the surreal burden of fame. This piece mixes pop culture, satire, and emotional symbolism, inviting reflection on the cost of attention and the thin line between joy and burnout.

Fames Burden 

It's a digital illustration that challenges conventional notions of beauty and strength. Set against a dreamy seascape at sunset, the work depicts a proud pink flamingo wearing an oversized camouflage mushroom hat and a striking prosthetic limb. With one elegant winged arm, it points to a sign reading "No one can stop you."

  
This surreal and powerful artwork explores themes of identity, disability, and self-determination through a whimsical, dreamlike lens. The vibrant colors and bold lines convey warmth and defiance, while the mushroom hat adds a touch of fantasy and rebellion. The flamingo, often a symbol of grace, becomes a resilient figure here—unafraidly unique and unwaveringly proud.

  
This work encourages viewers to embrace what makes them different and find strength in their individuality.

“In Spite of Everything”

Amid color and chaos, the cow stands still. Her empty gaze speaks of inner collapse — of moments where willpower fades and the self feels distant.

She embodies loss of control, emotional exhaustion, and the paralyzing sense of not knowing where to go.

A portrait of not functioning in a world that never stops.

Quiet Breakdown 

Beneath a mushroom- a symbol of diversity- a frog sits among glitter, money and fragility. The scene feels staged, yet the emotion is real: pride, exhaustion, searching. Between ideals and inner emptiness, this piece reflects what many feel – but rarely dare to show. 

The Price of Glitter

This work explores the emotional conflict of identity and belonging. The koi fish is caught between two worlds- land and water – and represents those who feel like they don’t fit in either. Its sad expression and packed suitcase suggest departure not out of strength, but of quiet despair.

This piece speaks to themes of mental health, rejection, and the painful journey toward self-acceptance.

Too Fish for Land, Too Human for Water

By using cultural and traditional dresses and characters, the linear fragmented image explores the mute, static and often dead myths and traditions while growing up.

Fragments

Scars

Pride

Obsession

This artwork carries the name ‘Oblivion’ because it’s inspired by the feeling of forgetting, of being unaware, of losing memories. It's inspired by memory loss, dementia and Alzheimer’s disease to bring awareness to the topic and at the same time to show how beautiful the state of unconsciousness of dreaming and to lose oneself can be in certain moments. It’s an exploration of the dualities in life and how beautiful and tragic it can be. 

It also showcases how thinking and behavior can be spontaneous with its colors, but at the same time be in sync. 

The art as the feminine' spirit is build on changes, since body changes until mind and behavior changes, all of them inspire reflection about the meaning of live and being alive, be here, at the present time but also in the past and any other time space. 

As an artist my purpose is to make people thinking about life, the sense of self and challenge the spectator to think, to feel and to discover the beauty of fact to be here, alive and breathing in this so beautiful world

It's a conversation piece. Hope you enjoy it as much as I do.

  
It’s a very special artwork for me, it’s dedicated to my grandmother, who suffers from Alzeimers disease. 

  
And on the topic of the Biennial and the eternal feminine, for me the mind has gender, can be male or female, but the brain is genderless like any other organ.

Oblivion 

This artwork is very special and dear to me, it was done amidst I was suffering from an impairing illness in my eyes (now heeled), what made me realize different facts of my capabilities and feelings. I see art for me as a passion and also very therapeutic. I discover that art doesn’t limit us to this body, this mind or even this reality. you are a limitless ocean of consciousness imbued with infinite potential. It transcends time and space. the name I’ve gave is illusion cause illusion is what existence it self is, we are existence itself. 
  
  
‘’The soul, fortunately, has an interpreter- often an unconscious but still a faithful interpreter - in the eye’’ - Charlotte Brontë 

  
’’Thee only journey is the one within.’’ - Rainer Maria Rilke

Illusion

Abstraction is the language that the artist uses to communicate with the expressive gestures of her works; therefore, the exhibition of his art to the general public could not have a different dialogue, proposing a subjective reading of his canvases and what surrounds them.

The focus is on the tones and striking brushstrokes of the canvases, everything else being just a background context, totally monochromatic and dark.

The canvas “Courage” refers to the rebirth of feelings, like flowers that rise from the ashes, in a lively and intense movement, like she mentions in one of her interviews the phrase “For me, art is about the search of expression, feelings, sexuality and abstraction”.

Courage

"My work

  
Strokes of clay skin color cover my scars as a caring

Every morning before delude myself with life,

Wash in the sweet dark my little pupils

and slip the soap in the little doll lashes

I cover my soul with a hint of pencil on my thin eyebrows,

I make them very thick with the mysterious profile ...

My hands already know by heart the shape of each scout ...

Deep by so much rain that took

It's like covering my soul every morning,

It's like me / I only knew ...

When I'm definitely a painting of Basquiat

I look in the mirror and I see:

A bull, a maiden, an insect, a moth, a dream!

I'm not sure if I see or rave, but create courage and open the door.

Almost always windy and weep

I put the luggage on my back

And I look back once more in the mirror

Yes, now I'm ready!

The destination messengers forgive me,

I'm hurry, get out of the way!

My tiredness melts my clay and the sculpture falls

I'm in a hurry...

my life is fleeting and my skin, a shell, molded by scars

  
When I get home,

I sit down, take off my shoes, wedge my essence and crying.

When the facial work breaks,

Lay my hands on the face and smile,

Light a candle, open the tap

And I wash my soul,

Now bare."

Bare

"Hamlet: a composition" 

My first line art

Abstract lines

We are living in a period of unprecedented social distancing, a period of exponential increase in screen time and growing influence of social media algorithms. Within this context, Laura A Dima has developed an artwork that revitalises our experience of touch.

This multimedia installation consists of two isolated hubs that are part warped confessional, part hallucinatory phone booth. One of the hubs contains a control panel sculpture, while the other hub houses the caressing machine: heated robotic silicone fingers that, once the consent button has been pushed, respond in accordance with the first hub’s interactive sculpture. Thus, it is the participants themselves who, upon entering these hubs, bring to life the defamiliarising sensory realm that is Future Affair. Their physical contact with the objects in each hub allows a thrilling abstracted communication to develop between participants.

Laura A Dima has long been fascinated by touch as an essential aspect of human experience and how to develop new access modes to one of our oldest and deepest needs. She is engaged in thinking about touch as an essential aspect of bonding and emotional response. She alters spaces for audiences to have reconfigured experiences: in Future Affair, participants will develop communication with strangers in a slanted yet profound way, and on the deepest level. They may even be inspired to enter a state of critical introspection, a dissolving of unconscious assumptions.

Future Affair

The Finger Rub Rug consists of a carpet of 1300 silicone replicas of my partner’s fingers, placed in a customised white room. Visitors were encouraged to enter one at a time and touch the fingers, which have varying temperatures. The finger mat also gives off vibrations that pulsate in the rhythm of a heartbeat. The soundtrack accompanying the work has a different ambience in every corner of the room: harmonic, scary, funny, and exciting. The installation’s set-up encourages audience members to lie down on the multitude of fingers and feel the extra heartbeat in their chests, syncing with the pulse of the music. The installation resembles, paradoxically, both a serene temple and a cold scientific lab, a hybrid in which the viewer-participant is encased in solitude that engenders a rethinking of interpersonal contact.

The Finger Rub Rug

Laser print cutouts - a moss-covered tabletop in sun and shadow, a painting of the California desert

"Shine On"



Laser print cutouts are pixelated holiday lights on chalk drawing on blackboard


"Blackboard Glo"



Cutouts from nature calendar pages and decorative papers


"Underworld"

Laser print cutouts of iPhone photos - raindrops on a feather on the back step, accidental street shots from my back pocket while walking to a train

"A Weed Can Crack the Sidewalk" 

Painted after the 2021 U.S. presidential inauguration

"Phoenix"

Satoshe Nakamoto

Super store

The HerStory magazine is a self-initiated project, with the intention of uplifting, showcasing and supporting all of those who identify as female in the creative industries.

The magazine consists of 40+ female artists from all around the world and different areas in the industry, including- photographers, graphic designers, dancers, performers and the list goes on.  Through a series of interviews, I gathered everyone’s artworks and their stories together and presented them in a 144 page magazine, which was created and designed by myself. From the magazine, I hope to spread creative courage and inspire others, as well as emphasising the sense of community. 

HerStory Magazine

Through the combination of fashion photography, graphic design and illustration, Laura Tobin tackles the fast fashion industry by producing the Capsule magazine. With the intention of inspiring others to change their shopping habits, Laura creates a positive resource for young women advertising how to build a capsule wardrobe, up-cycle clothes, and ways of shopping sustainably.   Laura has done an in-depth investigation into the fast fashion industry and what sells the clothes, focusing on the role that influencers on social media play in promoting it. By photographing in a similar aesthetic to influencers, creating a neutral colour palette that reflects influencers Instagram feeds and building an online platform, Laura aims to catch the attention of young adults and inspire them re-consider their approach to fashion.   The Capsule Magazine consists of three sections – Re-use, Reduce and Recycle and presents a series of fashion photographs, facts that highlight the realities of the industry and positive advice, in hope to inspire change.   As someone who feels so passionately towards community building, Laura created a community of young women who are collaboratively working towards change. By creating welcoming and visually appealing online platforms, the sense of community is enhanced through the Instagram page and Capsule blog. Both platforms work as a safe space for the community to discuss, share advice and collaboratively work towards change.   With the nature of the project and to distribute the magazine in an environmentally friendly way, the magazine is printed on natural recycled paper.  With Capsule magazine, collaboratively, we are saying No to fast fashion. 

Capsule Magazine: A Guide to Saying "No" to Fast Fashion

"Curled Page" is from my series The Hidden Life of Books: Chapter One The American Academy in Rome
As an Affiliated Fellow at AAR I photographed selections from the Rare Book Collection on, Engineering, Architecture, Medicine, Physics and the Sciences.

Curled Page

"The Composite" is from my series The Hidden Life of Books: Chapter One The American Academy in Rome
As an Affiliated Fellow at AAR I photographed selections from the Rare Book Collection on, Engineering, Architecture, Medicine, Physics and the Sciences.

The Composite

"Aristotle's Biology" is from my series The Hidden Life of Books: Chapter One The American Academy in Rome
As an Affiliated Fellow at AAR I photographed selections from the Rare Book Collection on, Engineering, Architecture, Medicine, Physics and the Sciences.

Aristotle's Biology

"Strabomis Geographii" is from my series The Hidden Life of Books: Chapter One The American Academy in Rome
As an Affiliated Fellow at AAR I photographed selections from the Rare Book Collection on, Engineering, Architecture, Medicine, Physics and the Sciences.

Strabonis Geographii

"Farfalla" is from my series The Hidden Life of Books: Chapter One The American Academy in Rome
As an Affiliated Fellow at AAR I photographed selections from the Rare Book Collection on, Engineering, Architecture, Medicine, Physics and the Sciences.

Farfalla

"B 7" is from my series The Hidden Life of Books: Chapter One The American Academy in Rome
As an Affiliated Fellow at AAR I photographed selections from the Rare Book Collection on, Engineering, Architecture, Medicine, Physics and the Sciences.

"Cullen and Hughes Tableau " from my series The Hidden Life of Books: Chapter Two James Weldon Johnson.
The books are from the private archives of the James Weldon Johnson Foundation in Great Barrington, MA USA
James Weldon Johnson was an African-American writer, educator, librettist, and activist. He was a mentor to Zora Neale-Hurston, Langston Hughes
and other influential writers of the  Harlem Renaissance 

Cullen and Hughes Tableau

"An Ex-Colored Man " from my series The Hidden Life of Books: Chapter Two James Weldon Johnson.
The books are from the private archives of the James Weldon Johnson Foundation in Great Barrington, MA USA
James Weldon Johnson was an African-American writer, educator, librettist, and activist. He was a mentor to Zora Neale-Hurston, Langston Hughes
and other influential writers of the  Harlem Renaissance 

An Ex Colored Man

"What Now? " from my series The Hidden Life of Books: Chapter Two James Weldon Johnson.
The books are from the private archives of the James Weldon Johnson Foundation in Great Barrington, MA USA
James Weldon Johnson was an African-American writer, educator, librettist, and activist. He was a mentor to Zora Neale-Hurston, Langston Hughes
and other influential writers of the  Harlem Renaissance 

What Now?

" Vote! " from my series The Hidden Life of Books: Chapter Two James Weldon Johnson.
The books are from the private archives of the James Weldon Johnson Foundation in Great Barrington, MA USA
James Weldon Johnson was an African-American writer, educator, librettist, and activist. He was a mentor to Zora Neale-Hurston, Langston Hughes
and other influential writers of the  Harlem Renaissance 

Vote!

" Black Manhattan " from my series The Hidden Life of Books: Chapter Two James Weldon Johnson.
The books are from the private archives of the James Weldon Johnson Foundation in Great Barrington, MA USA
James Weldon Johnson was an African-American writer, educator, librettist, and activist. He was a mentor to Zora Neale-Hurston, Langston Hughes
and other influential writers of the  Harlem Renaissance 

Black Manhattan 

I am wearing the concept of time (2020, acrylic on canvas, sewn into an outfit)

Once you forget everything about conventional time, and reassign its boundary to a physical form, you can begin to create work which verges on the absurd. With a physical form for time through paint, i have been able to steal, eat, and wear time. Much of this piece is about performance - I have worn this multiple times in public. When complimented, all I say, is that I am wearing the concept of time.

I am wearing the concept of time

2021,
The figurative forms of this painting are created from previous paintings (units of time in my visual timeline). They stand dispersed within my painting, camouflaging themselves within the layers of painted time. Moulded to the form of my body, the figures are indicative of my past presence. Not only are they representative of my past, brought together to stretch and add depth to the duration of this painting, they lack the consciousness that prevents experience of the present. I am fascinated by the fact that we never truly experience the present due to the delay in our internal processing of events, and the figures’ inanimacy allows them to exist in the past and the present simultaneously - they are painted with time, moulded from the past, but experience the present. The figures are elevated to a level of superiority over the viewer; The figures can experience something that we cannot, highlighting the limitations of our understanding.

The viewer is able to step into the painting, essentially transporting them to an alternative timeline or a moment in the past. The necessity of deciphering the relationships between each element of the painting and distinguishing the forms from each other holds the viewers gaze for longer than a two-dimensional painting, allowing an experience of duration. The viewer becomes part of the work.


Spatialized Time Dimension

‘Physical Time’: Durational painting installation consisting of a large wall-hung painting and two freestanding works on voile. The artist and sewn figure become part of these paintings. The space is intended to be read as a whole. 

I have no interest in conventional time. The time I have created exists beyond its own definition. 

Walking into ‘Physical Time’ exposes you to a structure of thought based on my alternative perception of duration. My work investigates the parallels between the action of painting and lived duration in order to reassign the boundaries of time as a construct. All I ask, is that you forget everything you know about time, and become vulnerable to the intense presence of its new physical form. 

I have surrendered the assertion I had over my process, choosing instead to champion the inherent qualities of paint, and allow the medium a level of control over my actions. Time and paint have become parasitic, using my physical presence to develop a new form. The paintings consequently exist with a new level of animateness. My actions as the painter and performer animate the conscious-less elements within this space, and the paintings control over me neutralises my own consciousness. Furthered by the kinetic elements of multiple shadows, the viewer too becomes comparatively inanimate, merging into the installation. As they become physically immersed, the viewer internally isolates themselves, distinguishing their shadow from those of the figures to become self-aware. Only then can they consider their own relationship with time.


Physical Time

Looking Back Through Time, Acrylic and found objects on canvas, 2020

'Looking Back Through Time' is the culmination of a series of 'date paintings', where each work is used as a tool for documenting, and remembering a certain place, date and time. To assign a date to each piece means that they can be curated in a way that manipulates the timeline. In this instance, the viewer is able to look through the work (the sculptural freestanding work has a traffic cone through it!), which is aligned so that the past work can be seen, essentially looking backwards through time.

Looking Back Through Time

Duration III, Oil and Acrylic on Canvas, 2021

My work stems from a fascination with time. I seek to deconstruct our conventional perception of duration. This work results from the physical process of reducing a temporal relation to a corporeal entity. The marks on the canvas behave similarly to the constant renewal of the present – the past continually influences the present and, correspondingly, what has already been painted determines new marks. The interrelationships between new and pre-existing brushstrokes also align with how the present distorts, changes or hides the past. The resulting visual image is my alternative timeline. I ahve created a new version of duration.

Duration III

Those Moves

2021
8x10"
Black ambrotype in artist's frame

Ideal Vectors

2021
8x10"
Layered black and transparent ambrotypes

Touch Screen

Heavy Focus weaves together ideas of tactility, visibility and the body, and the material conditions of image-making. In this single-channel video, disembodied hands carefully collage and layer physical photographic prints, while other images are manipulated within a digital workspace. Drawing from a wide variety of idiosyncratic sources including architectural theory, vintage beauty tutorials, phenomenology, archaeological studies of Venus figurines, stock images and the artist’s own photographic archives, Heavy Focus explores seeing as a sensory act that plays out both tenderly and forcefully upon the body.  

Heavy Focus

This cities with which I work represent the mirror as an image of the reflection on one´s own identity. This duality between Narciso and the Vampire of which Fontcubert speaks about in his book “The Kiss of Judas: photography and truth” “someone pursues the reflection of the one he lacks”. We are in a constant paradox searching for ourselves. The horizon of the utopia is the one being. An none horizon. We are intervals. The counterpoint between what we think we are and what we should be. There is no up or down. Symmetry breaks, colors invade one and other. In these collages there is an attempt to reframe and recompose our thousand facades.

Intervals

Alanna

Mascara Tears

IDGAF

There have been times when I feel powerless ........ A young man sits on a solitary rock in a peaceful pose. While he tries to find peace and acceptance. He is pierced with a beam of light. He is surrounded by turbulent laws of nature and elements. Who are beyond his strength or power.

Natural law H - 1,40 x B -1,20 Oil on canvas 

Water has always fascinated me. A few months ago I started with an idea. In which hands play a leading role. This work is about symbolism. What does it mean to wash hands ?! Both Mentally and Physically ?! Noot on medium I juist love to paint with oil. Noot on the viewers. Open interpretation.

Pontius Pilatus washes his hands in innocence

One morning in March 2020 (Lockdown I): I drew the sketch for this work. The idea naturally and atmosfeer flowed from my brain to the hand.


The Birdwoman

This work arose from a playful research "In search of the ideal self to the outside world". Note on the medium. I like to use paper and gouache. It helps me disconnect from the outcome. I hope viewers appreciate the spontaneity and deceptive simplicity of this work.

Self portrait

Bubble

Hey, Fever

Illuminated 

Cymbidium 

It Promises Light 

paintings as objects .. objects as
keywords .. keywords that
makes our memory more
complete

Segment_085

The Kaleidoscope of the Eternal Now 2020

 

Selected for Unseen Simultan Festival 2020 Timisoara, Rumania

Selected for Nodo CSS - VI Festival de video - Venezuela/Norway

National Prize, first place, awarded by Movimiento en Movimiento Festival 2020, Mexico City, Mexico

 

Jury Comments:

"We found that this piece actually manages to do what it sets out to do. The description fits the movie perfectly and there is little to add. It leaves one with an intimate sense of both what belongs to the eternal and the everyday and gains weight in light of the current pandemic. In addition to the technical issues of the use of imaging tools that give the idea of ​​the 3rd dimension, it is possible to make a kind of cell that seems to be repeated endlessly, as if it were a galaxy full of thousands of stars, where each star is a house with a family of simple and everyday customs in there. It is a philosophical reflection proposed with audiovisual and choreographic tools."

 

 

 

The kaleidoscope of the eternal now consists of volumetric videos of various scenes in an ordinary day. Filmed just before the pandemic reached Mexico, it captured, amongst others, a family gathering together to enjoy what would be one last lunch with extended family all together in a room, enjoying a carefree evening meal. 

 

The original premise of this film was to show ordinary moments as kaleidoscopic fragments of space-time converging as constellations of memories. A family lunch ends, the dining room has to be cleaned, dishes washed; outside in the garden, there is a private moment shared only between two people. Memories change from collective to private and are re-contextualized and fictionalized as we evoke them. 

 

In light of current events, these little snapshots of an ordinary day have gain new significance and relevance, they have become an archive of a pre-Covid normality. Being able to virtually explore these places in its three-dimensionality, brings them to life as fragments of shifting memories that travel within dimensions and temporalities imbued in magic realism, melancholy and uncertainty.

 

Traversing this virtual space, the present and the past converge and collide with one another, forming imposible architectures, fragments in time that are shattered and re-configured as we explore them. 

 

These fragments of space-time, dance in front of our eyes, in an ever-changing, impossible, bustling choreography conformed by familiar places, sounds and faces. The camera curiously orbits around them in a sequence shot, trying to capture and grasp as many details as possible. 

 

The kaleidoscope of the eternal now is a dance of memories, where forgetfulness and the rhythm of the ordinary unravels and registers within intensities, regularities, intermittences, urgencies and small vibrations. Through music and generative visuals, an atmosphere of the familiar and the unusual is weaved and unraveled, through stimuli that evoke melancholy images about an ephemeral present, which is breaking down as we traverse and explore it. The memory of the now is distorted into a bittersweet mix of noise, digital corruptions, samples and algorithms. 



The Kaleidoscope of the Eternal Now

360º immersive performance at EMPAC, NY, 2017

The Curtis R. Priem Experimental Media and Performing Arts Center at Rensselaer Polytechnic Institute in Troy, New York

 

Real-time, generative and site-specific audiovisual and multisensory performance, utilizing a cylindrical stereoscopic projection screen as its main component. A virtual reality environment is built on the Unity Engine, and adapted to the 360º screen, using a virtual multi-camera rig that behaves as a first person controller.

 

The rig is synced to the projectors in the space, thus when the first person controller (FPC) moves to look around, the whole VR world changes in multiple directions in real time, producing an ever-changing immersive environment where various perspectives and temporalities collide.

 

Using this virtual rig as a first person controller, the 360º projection creates a true threedimensional space, projected simultaneously and moving relative to the movement of the FPC.

Within this 3D environment, an audience has total freedom in choosing where to look and which elements to focus on, thereby each person can weave their own personal narrative within the collective immersive experience.

 

Real-time interactions are added with the use of different sensors. These include gyroscopes (to control the movement of the virtual FPC, as well as the movement of the multi-camera rig, in a more dynamic way), cameras, microphones and proximity sensors amongst others. This creates a performance and an evolving installation, where a multiple level dialogue between the audience, machines, the music and the performer can begin to develop. With the help of open source technology and software, such as Arduino, Pure Data and Max MSP, virtual objects are interfaced to sensors and react to all of the different stimuli, including sound during the performance. Physical audiovisual artifacts and sculptures are created and placed within the space. Such objects are constructed with motors, digital microscopes and contact microphones, and utilizing various materials such as plaster, cement, wood and organic matter sourced on site.

Dislocations

Comprehension Of Spaces for Cube Fest 2019 at The Moss Arts Center, Virginia Tech

 
Comprehension of Spaces is a real-time, generative and site-specific audiovisual and multi-sensory performance.

 
Developed for the Moss Arts Center's Cyclorama (360º screen) and 140+ spatialized speakers to make the sound travel in the space in real time. Presented at the Cube Fest, Virginia Tech in August 2019. 

 
This live performance combines a generative virtual reality world, 3D architectural models and pointclouds of The Moss Arts Center, live 3D scanning of the audience, live music composition, sensors and multiple software in order to create an immersive collaborative experience. 
 

The space was set up with 5 interconnected Kinect V2 sensors sending their live feeds over a network, this data, as a whole, was then recieved by the virtual world developed in Unity, each Kinect was callibrated and placed to capture a "slice" of the room and the audience within the space.  Through this set up, members of the audience were able to see themselves inside the virtual world, sitting inside a virtual cyclorama. 

 
Other sensors such as microphones, gyroscopes and motion capture enable a series of feedback loops where the virtual and the real world are bridged during the performance to create a unique atmosphere, a place of memory where the present and the past, the real and the imagined, merge without apparent boundaries.


NEXON COMPUTER MUSEUM X REALITY

Comprehension of Spaces VR immersive Live Experience has received the Best Award (VR) Prize at the Nexon Computer Museum

Jeju City, South Korea

VR - Comprehension Of Spaces

Interactive site-specific installation, made in collaboration with Jonathan Turner-Bishop (MA in conservation, clocks and dynamic objects)


This site specific interactive sound installation is constituted by 20+ cuckoo bellows with motors and custom made mechanisms,  fitted with motion and distance sensors and Arduino microcontrollers to produce different beahviours for each cuckoo. Each bellow produces slightly different sound and moves at it’s own tempo. 

 

As the bellows cluster and occupy the different spaces within the bedroom, the sound they produce as well as their movements begin to form complex relationships between rhythm and chaos.

Asylum of Noise

UNFOLDINGS 
West Dean College, Chichester, UK 2016 & Espacio Gallery London, UK 2016.

Featured as a highlight in the September / October edition of Crafts magazine (Issue 268)

 

Kinetic object using discarded window frames, custom made metal mechanisms, several servo motors and Arduino microcontrollers. 

 
The window is an object that is present everywhere, the kinetic sculpture started around the idea of objects that repeat themselves to such an extent that the way we experience them and remember them becomes an amalgamation of iterations of the same object, experienced in different times and spaces. 
The process of the window began by distortions of its shape and its function as well as the interaction we have with it, it is an object that becomes flattened in the periphery of a space we inhabit, when installed, we only perceive one dimension of it, and the interaction is to look through it, to open and close it in linear movements. But can we remember all those windows we have encountered? how does that object or the idea of a window exists in our memories? Does it become a generic concept of what a window is supposed to be and what is supposed to let us experience?

The object unfolds to reveal many possibilities and perspectives of itself, the motors add motion and repetition, slow, jittery movements of the motors that struggle to move the chopped up pieces of different windows reconfigured, flattened and expanded at the same time. The hum of its motion gives it agency and autonomy from our own experiences, it transforms into an object of dilated presence.



Unfoldings I

Kinetic installation of three modified toys fitted with DC motors, relays, arduino microcontrollers and lightbulbs. 

Each object has its own behaviour through the Arduino IDE platform, original code to generate unique erratic behaviours. 

 

Fabric, wire, light bulbs, motors, plastic toy mechanism, Arduino board, electric cables

 

May 2016, Meet Factory, Prague, Czech Republic & Zlín Design Week, 2016

Anxious Lamps 

On the failure of Exactitude

A map whose size is that of the size of the authentic. A model where the traces of objects and
textures have to be exact in order to experience them again.
The representations fail, become fragile, they transform into impractical allegories.

Installation at Yoriiza historic theatre in Kamiyama, Japan. A project developed during Kamiyama Artist in Residence program, from August to November 2018. 
 
Discarded objects such as shoji doors, scraps of paper, neon lamps, ceramics as well as organic matter, collected from and around the town of Kamiyama. Several linear actuators, and servo motors, fishing line, metal, liquid latex, concrete, wood and Arduino micro-controllers. 


On the failure of Exactitude

50 x 70 cm oil painting, part of the dreamers collection, portrays a strong and powerful woman who has been trying to hide her thoughts.

Golden Mickey

70 x 100 cm oil painting, part of the dreamers collection, portrays a strong and powerful woman who keeps her cool through the years.

Golden Age

Golden Thoughts

70 x 100 cm oil painting, part of the dreamers collection, portrays a strong and powerful woman who has been neglected by society, caught in her dreams for freedom and equality.

Golden Dreamer

 70 x100 cm oil painting, part of the dreamers collection, portrays a strong and powerful woman who rejects society standards, caught in her dreams for acceptance and healing.

Bold

 70 x100 cm oil painting, part of the dreamers collection, portrays a strong and powerful woman who has been neglected by society, caught in her dreams for freedom and equality.

Golden Soul

This painting is an abstraction that alludes to a heart as well as a brain. The work signifies a smarter love, a growth in emotional intelligence and the difficulty in becoming wiser through the many obstacles that life offers. The use of plastic grounds the work in a modern reality and alludes to the aspects of our capitalistic society which drives and affects our hearts. 

Wise Heart 

This piece was inspired by a personal love story. The movement and lines on the surface depict two people and their connection in an abstract manner. The use of plastic reflects the tension and difficult realities that the modern world imposes on emotional relationships and the choices we make. 

This painting depicts one of the island nations most in danger due to rising seas, The Maldives. Using a collection of found materials, like plastic bags - I reflect on how pollution and capitalistic ideals are affecting this fragile island system. 

Low-Lying Island (Maldives)

This piece is inspired by traveling, physically and metaphorically, that is taken in life. A shirt that I wore traveling throughout the U.S. and to the Middle East and Southwest Asia, was deconstructed and made into an abstract form on the painting. This informed the movement of the piece and solidified its significance as representing travel. The work reflects traveling throughout the nature world in an abstract and surrealist manner. 

Sail On 

This painting reflects an aerial view of a natural landform. The work was created using found and recycled materials like plastic bags and cardboard, to reflect the contentious relationship between capitalism and nature. The reality of the danger human activity poses to nature is inflected by this work. 

Estuary 

The following project is the result of the encounter between time, vibration, rebirth, ancient techniques and
contemporary art. Its creation orbits around the song of the "coyuyo"  (cicadas) that although it lives globally, its sound occupies a prominent place in Argentina´s northern culture . His song goes through time and allows us to discover that it is the same one they heard our ancestors in the hot nights of the Santiago del Estero summer.
I make the sound of the cicadas visible through cymatics plates, being able to make visible the effects caused by the waves
sound on a surface. The sound of the guinea pigs allows organic and symmetrical patterns to emerge on the plate and we
discover the internal engineering of the vibrations with which we live daily.
With these patterns I make a series of drawings, continued by a group of "teleras" from the Santiago countryside in a series
of textile works. Made through traditional embroidery and loom techniques, each of these works is offered to the
earth as a symbol of rebirth.
Weaving is an expressive tool at the service of the human soul, it unfolds in countless cultures and its design conforms
the language of time. The textile tradition is transmitted from generation to generation and is an art that makes it easier for people
live, communicate and stay.
Visualizing invisible structures is like weaving an intrinsic fabric between reality and fiction and their creative development.
it can transform our understanding, offer new knowledge about previously imperceptible elements and forces.
This is where his rebirth resides.

Tinkunakuy

VIDA (2020)

Video Art
Duration: 5’03”
Image: Laura Fong Prosper
Sound: Ela Spalding

Two friends who share time between Panama and Berlin found themselves on opposite sides of the world during the covid-19 pandemic. Based on their voice notes to each other, they created this first collaboration reflecting on the effects of the crisis on family life as well as society as a whole. Vida is a personal response to how to approach life today as mothers and humans.

My collaborator is Ela Spalding (https://www.artconnect.com/profile/ela-spalding)





VIDA (2020)

Ongoing artistic research.

As an immigrant mother and artist, most of the times I have to leave my artistic job aside because domestic work prevails over everything. 

How much time do I spend at home vs. how much time do I spend at work? Does a mother's domestic work have any economic value?

With MATER (Mother in Latin) I want to make clear that  within the "home economy",  domestic work is equally important as a full-time job.  By belonging to a capitalist and patriarchal society this role has always been relegated to the background by thousands of generations. I would like to make this situation visible.

Exhibited in the virtual show "Rituales Diarios" of Arte Nomada, Panama in May 2020.

MATER (2020)

Videobits montage in collage form with images shot in China that did not make the final cut of my documentary "Where he was born" and were later processed with old analog synthesizers. The soundtrack is a Tibetan mantra recorded in situ in the Shangri-la region.       

Exhibited in the virtual show "Altares" by Arte Nomada, Panama in April 2020.

MANTRA (2020)

Animal Print is a video installation in four channels with mono-channel sound where different animals in danger of extinction are being reproduced along with a heartbeat sound.

Playing with analog video synthesizers and reproduced in old TV sets, this piece is intended to be an ode to the National Geographic documentaries I grew up with and it’s a document of the current reality of our ecosystems for the generations to come.   

It was exhibited in March 2020 in the Projektraum Mein Blau in Berlin during the Exhibition “Herzschwingen” curated by Maria Hinze.

ANIMAL PRINT (2020)

Documentary that follows the search of my roots and the finding of lost relatives in the house where my grandfather was born near Zhongshan, China.

Funded by the Berlin Senate Chancellery for Cultural Affairs 2018.

WHERE HE WAS BORN (2020)

Video Mapping Performance to Niko de Paula Lefort’s “Aurality” Concert premiered in ACUD MACHT NEU in Berlin, November 2019. 

The content of the video bits are taken entirely from the elements of nature: rocks, water, wood, earth, air and are processed through analogue video synthesizers in a fortuitous way to add texture, movement and color. 

PLANETARY LANDSCAPES (2019)

For the piece Inverted Memories (2017), Laura Fong Prosper invited Berlin filmmaker and media artist Christin Wilke to collaborate on a series of video letters. By using personal archival miniDV footage, the artists discuss concepts of home, free choice, and memory.
Each received letter is read in a voice-over and is accompanied by images of daily life moments, landscapes, and random footage collected in the last 10 years. The intimate exchange raises questions about leaving, staying, and going back. Could the exile at the end be- come a home or are we stuck in between?


INVERTED MEMORIES (2017)

It is a collection of .gif files in 'loop' of black and white photos of my family re-placed on different backgrounds in color with textures that remind me of home, sometimes Panama, sometimes Panachina.

Antique Glitch. Old meets new.

FAMILY PORTRAITS (2016)

Video mapping installation of 22 different videos into 22 photo frames of different sizes.

Images are composed by colours and feelings, shapes and consciousness. Through a crisp selection of videos, I tell a fragmented story; a testimony of my inner search and the tale of two countries.

Video, Video Projection, Video Installation, Mixed Media Video Installation, Projection Mapping, Video Mapping, VJ Performance, Loop.

GĒN (2014)

Serene_2_vertical
glass, paper, wood.
18x24x23cm

The condition of contingent isolation makes every experience of mine a timeless discovery and every surface lends itself to supporting imbalances. While the hyper-connectivity between people, things and facts gives way to the proximity of contacts, the transience of connections and recalibrated movements around us, in a space without measures we meet the "before" and "after" relocated without patterns.



Add

Gang of Berlin

Opportunities

For Artists

ArtConnect

Support