Apocalypse Babies

Inspired by Fukushima nuclear catastrophe, Apocalypse Babies bears witness to our fragility in a world dominated by money where technology destroys nature. The drawings were done at the Dupuytren Museum on photographs of the catastrophe. From the cloud, falls a shower of debris and traces life, everyday objects now carrying death. They surround the child, burned, stillborn or aborted

Apocalypse Babies

Installation (with drawings on the floor)
17 drawings, 3 photos,1 mobile
Approximate size 210 cm 120 cm 110 cm
2011

Fukushima Blues

Mobile (part of installation Apocalypse Babies)
Polyester, Polyethylene, plastic, lace and objects
210 cm 90 cm 80 cm
4 kg

Group of 17 drawings and 3 photos

118,8 cm * 105 cm
2011

The drawings, oil pastels, were made at the Dupuytren museum on inkjet prints of the catastrophe. (The Dupuytren museum, now closed, was a museum of anatomical pathology in Paris)

2 details

The cloud is made of polyester fiber.

From the cloud, falls a shower of debris and traces life, everyday objects now carrying death. They surround the child, burned, stillborn or aborted?

Other works of the artist

Future Lonely Tree

Future Lonely Tree

Anthropocene

Stockbridge, Massachusetts 

October 2017

Silver Gelatin Print

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Substratum

Substratum 

2019, Opalka Gallery

The Russell Sage Colleges, Albany, NY

Substratum is a collaborative sculptural work by artists Medina, Bauer, and DiFiori Hopkins. Segments of concrete rubble, wire, and related materials are arranged beneath a collection of tensile fabric canopies. Projected digital images complete the composition. This work is a reaction to the realities of the limited lifespan of walls that are erected around the world for the sole purpose of separation. These walls may be physical, imagined, or psychologically imposed. How do such walls relate to interpretations of shelter and ownership? Can society look skyward and transcend any such walls? Substratum utilizes ideas of transcendence, deconstruction, containment, and framing to question the usefulness of boundaries and to reinforce the idea of existing without confinement, as well as to reinforce the potential afterlives of walls.

Sean Corcoran

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SPIRAL OF EXISTENCE

SPIRAL OF EXISTENCE

Installation, bamboo and plastic waste

Depok Beach, Yogyakarta, Indonesia, 2012

In collaboration with Putu Dede Suwidnya Arock, Rommy Hendrawan, Surijal, Udien Aee

The installation reflects on the environment located in Depok beach, Yogyakarta. The form of “nautilus shell” refers to the ocean and ocean life. However, it can be interpreted on a further level. Spiral is the symbol of cycle: the cycles of time, life, birth-growth-death-rebirth, the cycle of nature. Nature and Life doesn’t proceed in a straight line but in a spiral, and we seem to pass the same point over and over again but from a different perspective each time. It depends on us how much we develop, how conscious we become.

The choice of garbage as a material suggests further levels of interpretation. The relationship of the spiral form and garbage refers to the fact that the 21st century man does not live consciously enough in the cycle of nature and life. The 21st century man does not respect its environment but throws away the rubbish, which affects and destroys the cycle of nature and life.

The message of the installation is that people should study to become more environmental conscious and respect the natural surrounding more, because we are also part of the cycle of the universe, the cycle of life, the cycle of nature, and should not pollute it with short-term, garbage-like actions and materials but preserve and cultivate it. Our spiral should move upwards in harmony with nature, and not downwards hand in hand with waste and destruction.

Other works of the artist

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