How do you characterize the media you work in?

I fulfill various roles within EPOCH, the virtual exhibition space I created in 2020: I approach it not only as an artist but also as an organizer of exhibitions, a director, and a cinematographer. I construct virtual environments where artists can exhibit their creations. Although the project presents itself as a gallery, it also stands as a distinct piece of artwork in its own right. If I were to characterize it by medium, it would arguably fall under digital or virtual; however, my predominant perception of it is to create spaces for artists to inhabit.

How does your practice engage with technology?

Maintaining a real-time dialogue between virtual happenings and physical, socio-political occurrences are pivotal to me. EPOCH has evolved to allow the transposition of authentic locations and architectures—each derived from late capitalist structures—into the virtual environment. This serves as a means to anchor the conversation to tangible, real-world phenomena. I aim to pose critical questions: For whom are these spaces intended? How accurately do they represent the people and communities they claim to serve? EPOCH, being inherently collaborative, offers a platform for fostering such discussions.

What was your focus during your time at Eyebeam? Was there a culminating project?

During my time at Eyebeam, I organized two EPOCH exhibitions. The first, XENOSPACE, showcased eight artists, each collaborating with artificial intelligence in unique ways. The challenge was creating this exhibition using AI itself—a work that is arguably slightly ahead of its time. The second exhibition, displayed on the EPOCH website’s front page, is CATALYST. This was organized in partnership with the Honor Fraser Gallery. CATALYST is the third chapter in the LACMA [Los Angeles County Museum of Art] series, succeeding PHANTOM LIMB and ECHOES. In this, I organized the works of seven artists into a speculative 3D rendering of LACMA’s forthcoming museum for their permanent collection, set against a post-apocalyptic Los Angeles backdrop. CATALYST was also physically exhibited at Honor Fraser Gallery—a collaboration exemplifying how this type of work can be seamlessly displayed via VR headsets in a traditional gallery without feeling stagnant.

How has dialogue or collaboration with Eyebeam artists and alumni factored into your work?

[2021-2022 Democracy Machine Fellow] Marton Robinson participated in one of EPOCH’s early exhibitions. I greatly valued our collaboration, and he was pivotal in introducing me to Eyebeam. Through the fellowship, I’ve encountered several artists with whom I’m eager to collaborate with on future exhibitions. For instance, the work by Subash Thebe [2022-2023 Democracy Machine Fellow and 2022 VH Award Resident] and his perspective on Indigeneity are thought-provoking. I’m also looking forward to actively engaging with the upcoming cohort.

How do you think about the role of the artist in society?

We often perceive an artist as someone adept at working independently in the studio, exemplifying complete self-sufficiency. While this approach suits some, I have discerned that collaborative endeavors enhance my productivity. I’ve always had an aversion to strict categories and binaries, a sentiment reflected in EPOCH, where exhibitions shift between multitudes of environments. Being an artist does not mandate adherence to a specific modality; numerous paths exist to embody artistic expression.