Experiments

What we know so far is an ongoing series of diagrams that posits aesthetic experience as a means to shape social perception. The diagrams consider what must be accepted as a starting point if the goal is, indeed, to consider art/design as a way to engage people in the support of social equity. Essential constructs include understanding art/design as the production of experiences rather than artifacts; recognizing that the viewer-participant is the actual center of the work; and that the nexus of memory and emotion must be triggered in order to produce transformational personal meaning.

For SFAC’s Passport exhibition, MD developed an Augmented Reality rubber stamp. Viewing the stamped impression through a smartphone reveals two short films. Together, the films represent the cycle of prosperity and displacement that defines SF as an icon of the boom and bust town. [+]

Ironic truisms intended to underline our selective blindness – regardless of where we fall on the political spectrum. [+]

A series of Instagram images that remind us of where we are as a nation of individuals existing in echo chambers. Posted to coincide with the one year anniversary of the 2016 presidential inauguration, each image is intended to amplify the internal voice we all hear—and then attempt to ignore—as we succumb to our cultural biases in the ongoing culture war.

A flag should be more than an abstract representation of a place; it should express what is essential about that place and the people who call it home. San Francisco Magazine asked MD to develop a new city flag based on Roman Mars’ criticisms laid down in his TED talk about the poor design of municipal flags. [+]

Narcissus I is an interactive installation that functions as a mirror. The installation manipulates a visitor’s biometric data in order to produce a reflection. This reflection functions as an interlocutor, questioning the viewer’s complicity with, and place within, a compromised natural system. [+]

A limited edition of 1000 prints announcing the opening of Southern Exposure’s new gallery space. The color was continually modulated throughout the print run to make each print unique. [+]

The completed prints were crash-numbered, 0001 to 1000, to underscore each print’s status as an original. A collaboration with Eric Heiman of Volume, the idea was to produce a limited edition of unique prints using offset lithography, a printing method traditionally used to ensure sameness.

Dimensions: 17.5 x 24.25 inches

SF Toile is a traditional toile de jouy pattern. Instead of depicting the pleasures of 18th century pastoral France, however, the pattern repeat shows the hazards awaiting the unsuspecting San Francisco cyclist. [+]

A neon wall installation that blinks on and off with increasing rapidity until the eye can no longer sense the transition between light and dark. [+]Neon (Ne) is one of three gases left over once nitrogen, oxygen, and carbon – elements necessary to sustain organic life –have been depleted in breathable air. The piece stands as a warning about the future we are collectively producing.[+]

SOEX30/The Way We Work was a city-wide, participatory installation that generated awareness for the gallery’s 30-year anniversary exhibition. The project invited San Francisco residents to use stencils to make images on posters wheat-pasted throughout the city. The participatory meme transformed the city into a canvas and generated wide-spread publicity for the gallery. [+]

Rebrand USA satirically considers a hypothetical situation in which the United States government, fearing a declining belief in the American ‘brand promise’, attempts to buoy perceptions by suggesting fundamental changes to its core brand values. [+]

The project deliberately presents skin-deep modifications to iconic national monuments in order to suggest a well-meant, but tone-deaf updating of American principles. The project was a commission from SFMOMA’s OpenSpace.

Pages