Petals to Pixels
June 13–July 20, 2019
MINE PROJECT (now MOU PROJECTS) is pleased to present "Petals to Pixels," Sarah Meyohas's first solo exhibition with the gallery as well as in Hong Kong. The show brings together works from two of her projects, Cloud of Petals and Speculations.
Rose petals cannot digitize themselves. At the site of the former Bell Labs, a gigantic hanger in the rural New Jersey farmland, sixteen workers gather to photograph 100,000 rose petals, one by one. Human hands must individually open the flower, pick the petal, place it under the lens, press the shutter, and upload the image to the cloud. The workers set aside one petal per rose that they consider most beautiful and put it in a press—preserving it as a physical artifact. From this trove of images, an artificial intelligence algorithm emerges, allowing for the creation of new, unique petals forever.
Shot on 16mm film, Cloud of Petals traces beauty and subjectivity within the systems of automation and artificial intelligence. Inside the static confines of the once-modern but now-shuttered Bell Labs, the place where the world’s brightest minds came together to invent the future, Sarah Meyohas has captured a haunting vision, punctuated by arresting visuals—at one point, a live python is let loose amid the piles of petals. Above all, it tracks the transformation of these most elemental markers of color, the blossoms of flowers, into nothing but data—ones and zeros. The cloud of petals sprawled in the building eventually becomes a cloud of pixels.
The film, along with 3,289 pressed petals, sculptures, and six gaze-based virtual reality experiences were presented during a large-scale solo exhibition at Red Bull Arts New York. The Cloud of Petals exhibition becomes a site for contemplation about a post-human reality and the future of labor in the face of automation. The film has been screened at various festivals, including the Minneapolis St. Paul International Film Festival, Slamdance, NY Times Talks, CogX, and the Locarno Film Festival.
For the virtual reality pieces, 3-D models, derived from both the AI-generated and original photographic petals, become particles in simulated systems, floating in space like a cloud. Meyohas writes in ArtForum: "The current physical state of these systems, in turn, exists only through the agency of a viewer. That is because of the critical difference between a physical artwork and a virtual-reality piece: a physical artwork requires a one-to-one physical confrontation, which anchors subjectivity in the body; in virtual reality, by contrast, the viewer is a point in space, both physically disembodied and embedded in the work."
Greenway writes: "Meyohas's quest to make the invisible visible continues in the ongoing Speculations series, which represents the boundless of the digital world using specular tactics. The photographic work heightens the void-like effect captured from two mirrors facing one another. Staged with foliage, canvas, and/or obscured figures, the unending visual illusion pulls the viewer into its limitlessness. Described by Meyohas as a 'stasis, made of a constant exchange and a series of specular relations that never find a definitive end,' the photographs transcend the two-dimensional plane, transporting the viewer as if through a portal. Tangentially themed shadow boxes with items such as maps, shells, marbles, and clay pipes by Joseph Cornell, a self-taught artist and filmmaker, enact a gateway into the artist’s enclosed world. Kenneth Goldsmith defines Cornell's boxes as an interface, one with in-built 'operating and navigation systems through which we may experience it.' He goes on to draw a parallel between Cornell’s subdivided boxes and computer technology, specifically the layout of desktop 'windows.' Not unlike Cornell's boxes, Speculations casts a visual spell strongly reminiscent of what it means to exist and navigate within digital platforms. Whether in virtual reality or photography, the unending replication of the plant, flower, and petal within an infinite plane enacts the experience of our digitized and endlessly categorized reality. By using the natural world as her references, network as her medium, and the specular as her mode of contemplation, Meyohas's Infinite Void offers a timely and aesthetically stunning depiction of the growing darkness that is our technological dependence."
The Speculations was initially conceived to a cryptocurrency Meyohas created in early 2015 named "BitchCoin." Each coin was backed by 25 square inches of her photographic prints: a currency with optionality and one of the first examples of tokenization in the cryptocurrency space. BitchCoin presaged the most important use case of bitcoin so far: speculation. With a nod to Relational Aesthetics, the artist has created a market as her first major artwork with a constant play on language describing space, materiality, and value.
Value is thought to be currency, stocks, and big data. Those are the artist's materials, from which she reveals value as subjectivity, representation, and beauty. Meyohas's work is located in those constructed intersections. Speaking to established spheres of language and contextual frameworks, the production of meaning is located in the analogical shift.
About the Artist
Sarah Meyohas (b. 1991, New York, US) is a conceptual artist and pioneer in the field of crypto art. Her work has been exhibited worldwide, featured in solo shows at New York's 303 Gallery and Red Bull Arts. Meyohas is also a venture partner at Spark Capital. In 2015, Meyohas created "BitchCoin," a cryptocurrency backed by her physical artwork. Predating the launch of Ethereum, "BitchCoin" is the first tokenization of art on a blockchain, effectively a "proto-NFT." Today, Meyohas continues to investigate emerging technologies with familiar emblems of biological life: soaring birds, created using augmented-reality software, flock in unison with the frenetic variations of the stock market; rose petals, aggregately identical but individually unique, comprising the dataset for their AI-created equivalents. Meyohas's practice provides an intelligible visual language to articulate the systems and complex operations that increasingly govern our world.
Sarah Meyohas received her BA in International Studies from University of Pennsylvania in 2013 and her MFA from Yale University in 2015.
The artist lives and works in New York, US and London, UK.
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2022
HK$180.00
Print | Park Voyage I (5'03'')
Florence Yuk-ki Lee, Park Voyage I (5'03''), 2022, giclée print on Hahnemühle German Etching paper, 29.5 × 62 cm, 35 × 68 cm (with frame), edition of 5 + 2 AP
US$700.00
Print | Park Voyage I (21'03'')
Florence Yuk-ki Lee, Park Voyage I (21'03''), 2022, giclée print on Hahnemühle German Etching paper, 35 × 45 cm, 40 × 50 cm (with frame), edition of 5 + 2 AP
US$700.00
Print | Park Voyage I (45'20'')
Florence Yuk-ki Lee, Park Voyage I (45'20''), 2022, giclée print on Hahnemühle German Etching paper, 29.5 × 62 cm, 35 × 68 cm (with frame), edition of 5 + 2 AP
US$700.00
Print | Park Voyage II (4'18'')
Florence Yuk-ki Lee, Park Voyage II (4'18''), 2022, giclée print on Hahnemühle German Etching paper, 35 × 45 cm, 40 × 50 cm (with frame), edition of 5 + 2 AP
US$700.00
Print | Park Voyage II (6'17'')
Florence Yuk-ki Lee, Park Voyage II (6'17''), 2022, giclée print on Hahnemühle German Etching paper, 35 × 45 cm, 40 × 50 cm (with frame), edition of 5 + 2 AP
US$700.00
Print | Park Voyage II (23'17'')
Florence Yuk-ki Lee, Park Voyage II (23'17''), 2022, giclée print on Hahnemühle German Etching paper, 35 × 45 cm, 40 × 50 cm (with frame), edition of 5 + 2 AP
US$700.00
Print | merry-go-round-like a lullaby: melting blaze
Florence Yuk-ki Lee, merry-go-round-like a lullaby: melting blaze, 2023, giclée print on Hahnemühle German Etching paper, 35 × 45 cm, 40 × 50 cm (with frame), edition of 5 + 2 AP
US$700.00
Print | a fading dream that leaves me: cold shoulder
Florence Yuk-ki Lee, a fading dream that leaves me: cold shoulder, 2023, giclée print on Hahnemühle German Etching paper, 35 × 45 cm, 40 × 50 cm (with frame), edition of 5 + 2 AP
US$700.00
Print | you build a home in my mind: lost in the naked light
Florence Yuk-ki Lee, you build a home in my mind: lost in the naked light, 2023, giclée print on Hahnemühle German Etching paper, 35 × 45 cm, 40 × 50 cm (with frame), edition of 5 + 2 AP
US$700.00
Print | you build a home in my mind: the pilot
Florence Yuk-ki Lee, you build a home in my mind: the pilot, 2023, giclée print on Hahnemühle German Etching paper, 35 × 45 cm, 40 × 50 cm (with frame), edition of 5 + 2 AP
US$700.00
Print | you build a home in my mind: the blissful defect
Florence Yuk-ki Lee, you build a home in my mind: the blissful defect, 2023, giclée print on Hahnemühle German Etching paper, 29 × 91 cm, 35 × 97 cm (with frame), edition of 5 + 2 AP
US$1000.00
Print | you build a home in my mind: two moons I
Florence Yuk-ki Lee, you build a home in my mind: two moons I, 2023, giclée print on Hahnemühle German Etching paper, 12 × 12 cm, 20 × 20 cm (with frame), edition of 5 + 2 AP
US$300.00
Print | you build a home in my mind: two moons II
Florence Yuk-ki Lee, you build a home in my mind: two moons II, 2023, giclée print on Hahnemühle German Etching paper, 12 × 12 cm, 20 × 20 cm (with frame), edition of 5 + 2 AP
US$300.00
Print | you build a home in my mind: a planet of darkness
Florence Yuk-ki Lee, you build a home in my mind: a planet of darkness, 2023, giclée print on Hahnemühle German Etching paper, 12 × 12 cm, 20 × 20 cm (with frame), edition of 5 + 2 AP
US$300.00
Print | Peep of Playscape I
Florence Yuk-ki Lee, Peep of Playscape I, 2022, giclée print on Hahnemühle German Etching paper, 35 × 45 cm, 40 × 50 cm (with frame), edition of 5 + 2 AP
US$700.00
Print | Peep of Playscape II
Florence Yuk-ki Lee, Peep of Playscape II, 2022, giclée print on Hahnemühle German Etching paper, 35 × 45 cm, 40 × 50 cm (with frame), edition of 5 + 2 AP
US$700.00
Print | Peep of Playscape III
Florence Yuk-ki Lee, Peep of Playscape III, 2022, giclée print on Hahnemühle German Etching paper, 35 × 45 cm, 40 × 50 cm (with frame), edition of 5 + 2 AP
US$700.00
Print | Peep of Playscape IV
Florence Yuk-ki Lee, Peep of Playscape IV, 2022, giclée print on Hahnemühle German Etching paper, 35 × 45 cm, 40 × 50 cm (with frame), edition of 5 + 2 AP
US$700.00
Print | Peep of Playscape V
Florence Yuk-ki Lee, Peep of Playscape V, 2022, giclée print on Hahnemühle German Etching paper, 35 × 45 cm, 40 × 50 cm (with frame), edition of 5 + 2 AP
US$700.00
Print | Peep of Playscape VI
Florence Yuk-ki Lee, Peep of Playscape VI, 2022, giclée print on Hahnemühle German Etching paper, 35 × 45 cm, 40 × 50 cm (with frame), edition of 5 + 2 AP
US$700.00
Print | Peep of Playscape VII
Florence Yuk-ki Lee, Peep of Playscape VII, 2022, giclée print on Hahnemühle German Etching paper, 35 × 45 cm 40 × 50 cm (with frame), edition of 5 + 2 AP
US$700.00
MOU PROJECTS is a Hong Kong-based contemporary art gallery established in 2019. Since its inception, the gallery has been dedicated to showcasing both local and international emerging artists working in all media and has held many of their first solo exhibitions in Hong Kong as well as in Asia. With an aim to facilitate artistic dialogues and conceptual innovations, the gallery supports artists whose experimental practices and boundary-pushing ethos reflect the current social reality and manifest alternative contemporary aesthetics.
MOU PROJECTS is a member of the International Galleries Alliance (IGA).
Email: info@mouprojects.com
Tel: +852 3709 6884
Opening Hours: Tuesday–Saturday, 11 am–7 pm; closed on public holidays.
Address: 202, The Factory, 1 Yip Fat Street, Wong Chuk Hang, Hong Kong
Access:
· MTR: South Island Line, Wong Chuk Hang Station, Exit A1
· Bus: 78 or 48 at MTR Wong Chuk Hang Station stop
· Car/Taxi: Drop off at The Factory on Yip Fat Street
· Parking:
One Island South, 2 Heung Yip Road;
Southmark, 11 Yip Hing Street;
South Island Place, 8 Wong Chuk Hang Road;
Marina 8, 8 Heung Yip Road