Bibliographic record
Abstract
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.
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.001 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.001 |
| Bibliometrics | 0.001 | 0.000 |
| Science and technology studies | 0.004 | 0.001 |
| Scholarly communication | 0.005 | 0.002 |
| Open science | 0.001 | 0.004 |
| Research integrity | 0.002 | 0.003 |
| Insufficient payload (model declined to judge) | 0.373 | 0.084 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".