"Lifelike" encourages the viewer to reconsider where (and if) they draw the line between living and inanimate, focusing on the intensely lifelike qualities of subjects normally considered objects. The viewer is encouraged to lean into the discomfort of falling into the uncanny valley, and that of seeing humanoid subjects objectified in a way that is reminiscent of factory farms, refugee camps and magazine advertisements.

"Lifelike" encourages the viewer to reconsider where (and if) they draw the line between living and inanimate, focusing on the intensely lifelike qualities of subjects normally considered objects. The viewer is encouraged to lean into the discomfort of falling into the uncanny valley, and that of seeing humanoid subjects objectified in a way that is reminiscent of factory farms, refugee camps and magazine advertisements.

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 "Lifelike" encourages the viewer to reconsider where (and if) they draw the line between living and inanimate, focusing on the intensely lifelike qualities of subjects normally considered objects. The viewer is encouraged to lean into the discomfort of falling into the uncanny valley, and that of seeing humanoid subjects objectified in a way that is reminiscent of factory farms, refugee camps and magazine advertisements.
IMG_2067.JPG
IMG_2052.JPG
IMG_2077.jpg
IMG_2069.JPG
IMG_2080.JPG
IMG_2057.jpg
IMG_2062.jpg
IMG_2068.jpg
IMG_2059.JPG

"Lifelike" encourages the viewer to reconsider where (and if) they draw the line between living and inanimate, focusing on the intensely lifelike qualities of subjects normally considered objects. The viewer is encouraged to lean into the discomfort of falling into the uncanny valley, and that of seeing humanoid subjects objectified in a way that is reminiscent of factory farms, refugee camps and magazine advertisements.

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