Conceived and quickly made during the height of the first wave of self-isolation in winter/spring 2020, the Covid Community Center was a reaction to the seemingly overnight expectation to be able to migrate intimate encounters into digital space. This simple application offers the opportunity for one to contribute to collaborative drawings, and interact with others via a simple text-based chat, and was my first exploration into building NodeJS applications. It was also a way of experimenting with various internet ideologies: The degree to which a user wishes to remain anonymous or not is entirely up to them, no data is logged (including chat history), and the images created are erased after 45 minutes of inactivity. Additionally, the homogeneous collection of avatars are inextricably tied to user's mouse movements, mixing anonymity and exposé.

Produced in collaboration with Gabriel Dupras, Trash Galaxy 2024 is a David Bowie themed speculative journey through space in the year 2024. The website is built entirely in HTML, CSS, and VanillaJs. Beginning on earth --now on fire-- the road to Mars brings encounters with robots, billionaire overlords, electric cars, and trash. Trash Galaxy 2024 playfully asks us to consider the implications of a second-wave space race, funded by some of the largest, for-profit organizations on (this) planet.

3.5" x 2" x 2" - Custom 3D printed Enclosure, Raspberry Pi Zero, Custom Electronics, Python. Using one’s smartphone as a wifi tether; the box requests a packet of 100 tweets every 100 seconds. The tweets are sent to Google’s Natural Language API, where they are subject to “sentiment analysis” and then translated into an abstracted facial expression. It seeks to explore and question the limits of binary systems as a tool for calculating human emotion, especially as it pertains to algorithmic bias.

16" x 16" x 6" - Smith Corona DLX-100 Daisy-Wheel Electric Typewriter, Raspberry Pi, Arduino, Lamp. Twiter Terminal is a “hacked” Smith Corona DLX 100 electric typewriter, which seeks to Question notions of physical and digital locations and materials. Outfitted with an Arduino, a Raspberry Pi, some custom circuitry, and a patchwork of custom software, the device bypasses geolocational tracking by utilizing Twitter's API, and prints a Tweet from the current -globally- top-trending hashtag every 30 seconds. The attached lamp flashes each time a character is printed, emphasizing the material and energy cost of information. The slow, laborious nature of the typewriter printing also imposes a reflection on the emotional labour required for each tweet to come into existence. Source Code here.

Maquette: 14" x 6 x 6" - 3D Printed PLA, Acetate, Laser cut acrylic & plywood. Built in collaboration with Maya Jain, this proposal for a spacial intervention pays hommage to the work of painter, Julie Mheretu. We draw from Mheretu’s recurrent conceptual themes of nationalism, immigration and social inequality, by intervening in a traffic-heavy corridor, forcing navigation and contemplation of ideas and questions surrounding complex issues of globalization that are relevant to the space itself. By presenting contrasting images of international travel and immigration in a corridor on the semi-public property of the International Civil Aviation Organization, a branch of the UN, we raise questions about inequality and the complexity of a ‘global village.’ We explicitly draw upon Mheretu’s aesthetic themes of layering, perspective and scale by incorporating a series transparent panels down a long corridor that cause overlapping between abstracted images as commuters move through the space.

19" x 10" x 6" - Baltic Birch, Steel, Gear Assembly. This speculative design for a kitchen scale, defines weight as an expression of emotion, rather than a number. Its title is a nod to Jan Gehl’s critique of modern design ignoring the physical and emotional needs of human beings. Exploring relationships between people, their environment, and the food they make and consume, THS asks the viewer to reflect on the benefits of returning to a method of preparation which connects people to food on a more emotional level, and advocates for a return in the usage of the five senses as cooking tools - using hands as a way of measuring (i.e. a pinch of salt rather than a teaspoon), nose and mouth as judge of smell and taste.

5" x 3" - Paper, velum, acetate, Japanese book thread. This small Artist's Book was a response to the controversial "Anti-terrorism act" (or bill C-51) passed by the Canadian government is 2015, which had significant implications towards individual privacy, freedoms to organize protest, and immigration policy. The convoluted introduction of Bill C-51 is printed in the negative on velum, partially obscuring Chapter 7 of the Canadian Charter Of Rights and Freedoms, which reads: "Everyone has the right to life, liberty and security of the person and the right not to be deprived thereof except in accordance with the principles of fundamental justice." The book asks us to consider not just the language of the bill (which is by design, difficult to decipher), but chapter 7 of the charter itself; the last nine words of which make null the first 20.