Mirror Visionwear Artist Talk
Notice bibliographique
Résumé
Light Art & Mirror Visionwear - Gainesville Barcamp 2019 Artist Talk This presentation explores my artistic journey with light, reflection, and wearable art, culminating in the Mirror Visionwear project, as presented at Gainesville Barcamp in 2019. Artist Statement & Project Evolution My art practice emerges from the Light and Space tradition, synthesizing the perceptual experiments of James Turrell, the mirror-based environments of Yayoi Kusama, and Olafur Eliasson's elemental installations. In 2012, while conducting independent research on European light installation art, I first began experimenting with mirrored surfaces and LED illumination—testing how scale, angle, and opacity could conjure infinite, kaleidoscopic visions. Those early experiments soon evolved into large-scale mirror sculptures (2014) sited in public space, where shifting daylight and artificial light choreographed ever-changing optical pathways. My work with light art builds on James Turrell's investigation of light's materiality and how shifting color alters spatial perception. I draw on Yayoi Kusama's Infinity Mirror Rooms, which use reflective surfaces and LEDs to immerse viewers in infinite fields of light. I also echo Olafur Eliasson's practice of employing elemental media—light, water, and color—to heighten sensory engagement and blur the boundary between artwork and environment. By 2016 I had distilled these investigations into the Mirror Vision Platonic Solid series: five transparent-mirror forms (tetrahedron, cube, octahedron, dodecahedron, icosahedron) that explore the intersection of classical geometry and refracted light. Each sculpture functions as both artifact and lens, inviting viewers to peer through—and literally inhabit—the mathematical essence of form. In 2017 I translated these insights into wearable art with Mirror Visionwear. Collaborating with the synth-pop ensemble TIME, I designed mirrored costumes and built a geodesic-dome stage enhanced by interactive AR overlays of my diamond and Platonic-solid motifs. Across four American and Canadian tours, these pieces not only refracted stage lights but also reframed the audience's role: the performer and observer collapsed into one, as every reflection became a live, participatory performance in light. By 2019 I formalized Mirror Visionwear in an artist talk at Gainesville Barcamp—drawing on slides that traced my journey from early mirror tests to refined wearable prototypes—and embarked on a nationwide tour of galleries, festivals, and conventions (from Holiday Matsuri and Tampa Bay Comic Con to Suwannee Hulaween). Each presentation deepened my inquiry into omnipresent vision and the tension between opacity and infinity. Parallel to the touring schedule, I developed site-specific structures—Lumina–Kaleidoscope II and a geodesic dome installation—that brought Mirror Visionwear into communal gallery settings. Subsequent exhibitions spanned Gray Gallery (North Carolina), NG Art Gallery (Panama), Chic Evolution Gallery (São Paulo), Envie D'Art and Galerie Sébastien Adrien (Paris), Empty Circle Gallery (New York), Octavia Art Gallery (New Orleans), Joseph Gross Gallery (Los Angeles), Sist'Art Gallery (Venice), The Margulies Collection at the WAREhOUSE, and culminated with Art Basel presentations. Throughout this trajectory, Mirror Visionwear has served as both a sculptural object and a phenomenological device—inviting participants to become co-creators of their perceptual experience by wearing, reflecting, and reframing light. By situating wearable art at the intersection of technology, performance, and installation, my work continues to probe how light mediates our understanding of space, self, and community. Following these tours, I returned to more traditional costume design for cosplay conventions, further honing my craft in wearable storytelling. And when the world shifted in 2020, I applied that same precision to producing PPE masks and face shields—reminding me that light, reflection, and protection are inextricably linked in both art and life. Across all these projects, Mirror Visionwear remains at the core: a phenomenological device that transforms every wearer into a living kaleidoscope, refracting our shared world into ever-new constellations of possibility.
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Prédiction machine sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Le volet Gemma est une étiquette directe du modèle pour chaque travail de la base, lue sur la notice réduite au titre. Le volet Codex est un classifieur appris des 10 348 étiquettes directes de Codex et calibré sur les taux pondérés de l'échantillon; les champs sans appui suffisant ne portent aucun appel Codex. Le mode candidate est l'union des deux volets; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont pas des étiquettes humaines.
Scores du classifieur distillé par catégorie (deux têtes)
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,001 | 0,001 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,001 |
| Bibliométrie | 0,001 | 0,000 |
| Études des sciences et des technologies | 0,004 | 0,001 |
| Communication savante | 0,005 | 0,002 |
| Science ouverte | 0,001 | 0,004 |
| Intégrité de la recherche | 0,002 | 0,003 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,373 | 0,084 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule source (Gemma direct ou Codex distillé), pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».