Here is a virtual reality painting that explores calligraphic forms, utilizing emerging virtual reality and 3D sketching technologies. In the virtual reality environment, long flowing strokes expand into three-dimensional forms as the viewer moves, then collapse into flat, two-dimensional shapes as the viewer’s perspective shifts. This
UV print on aluminum composite panel 30 x 440cm (as installed) - 14.5 ft (6 panels at 30x30cm and 3 panels at 30x60cm with 10cm spacing between each) Branded is based on an early 2002 work entitled, Muslim T-Shirts Project. This particular project – from when I was
Trading cards. Ongoing series. In her 2004 essay on the intersection of science-fiction and racial fantasy, Nigerian-American writer Nnedi Okorafor explains how the "Magical Negro" trope reinforces and sustains racial hierarchies that ultimately benefit white people. In this context, what specific idea does the “Terrible Turk”
UV print on aluminum. Triptych. 40 cm x 60 cm each. Turkish Delight in Three Parts is a remake of the 2008 piece, Sometimes Mr. Metzel, A Candy Is Just A Candy. Presented as a triptych, the work explores the semiotics of race and representation through
Year: 2016 -2017 Interactive holographic Installation. Image: Highways Performance Space and Gallery, Los Angeles (2016) Are We There Yet? Is an interactive hologram named The Grand Turk. The project is in reference to Wolfgang Von Kempelen's Mechanical Turk, a chess-playing automaton unveiled in 1770, at the height of
Fantastic Turks (2005) is an interactive art project that combines elements of play and performance in real and cyberspace to trace the function of Turkish stereotypes in western popular culture. The project was initially sparked by the inclusion of a group of villains called “Turks”