Medium: Video - 3D Modeling & Animation, Year: 2021

Paracosmic Mutability is a product of my sustained exploration into technology-driven abstractions of nature. The dazzling, organic, amorphous, extraterrestrial, quasi-familiar forms quite literally ‘loop’ the viewer in, weaving them into a world of their own subconscious. The world each viewer becomes entrenched in might be ambiguous, personal, mutable, but the interaction between each viewer and the piece remains constant - we are entranced, ‘sucked in’ by the virtual world, as always. 

Video 1: Original 3 second video (view on loop)
Video 2: Manually looped 1 minute  

Paracosmic Mutability

Medium: Sculptural Painting - Clay & Plastic on Acrylic Canvas, Year: 2020

Noise is a manifestation of the haphazard, omnipresent axiom of noise that somehow won’t leave your head - muffled but inescapable.
Noise is a response to a personal struggle, epitomizing the universal axiom of noise as well as the constant noise inside my head. The physical act of sculpting and mark making serves, quite ironically, as a break from that noise and the technology that perpetuates it.
The white scape embodies noise in its rawest form; the colorful paint alludes to the various manifestations of noise around us and within me; the sealing plastic parallels the muffling escape from noise that this piece created for me.

Noise

Medium: 2D Digital Art - CGI & Photography, Year: 2021

The title (x, y, z) references coordinates that seemingly take one to a single point on Earth. However, terrestrial coordinates normally correspond to latitudes and longitudes while (x, y, z) is a deceptive reference to the Euclidean plane. This is reflective of the illusory essence of the piece.
(x, y, z) began as simple photos of my everyday life in Seoul - sunsets, trees, books. While rooted in these tangible elements, my piece draws the viewer into a virtual, surreal world, reflecting the in-between condition of humanity. Hints of nature and ecology provide the undertones of this new world, through mountainous forms, growth, water, and erosion. These are jumbled and reassembled using virtual duplication, glitch-like texturing, and other reworking techniques. The various stills of this world demonstrate how our world exists in a very real and yet a very virtual space. (x, y, z) is an exploration of how the virtual blurs our borders, horizons, and realities, and accurately reflects who we are today. We are 'in-between' our past - real, palpable - and our future - incorporeal, ethereal.

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Tara Mukund

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