Aasiya Khalil
Aikaterini Aznaourova
Aleksandra Cwikla
Alice Ferrante
Alexandra Andrews
Amy Bean
Ana Lucia Sarabia Villegas
Ananya Dunn
Andrea Werres
Anna Savel
Arthur Rowe Jones
Ash Mohammed-Grange
Avina Jain
Bella Yahin Geiwald
Bobby Ingham
Bradley Claytor
Bridget Mosiya
Caleb Woodward
Cam Harris
Cassandra Dickinson
Charlotte Ross
Cherrie Tong
Chloe Eia Hancock
Cornelia Skrok
Daniela Morris
Elissa Lenoir Ajaka
Ell Lenton
Ella Clancy
Ellecia Marie
Ellen Brandi
Elliott Bulman
Eunbyeol Choi
Flo Bender
Freddie Alexander-Morris
Gal Patal
George Murphy
Gerrick King
Gruffudd Drury
Haitian Xu
Han Bao
Hannah Stockwell
Iman Amjid
Isa Rios Martinez
Isla Burnett
Isabelle Van Zijl
James King
Janine Mody
Janvi Jain
Jiachen Shao
Jihun Lee
Joshua Haswell
Josselin Demelier
Kainuo Huang
Karen Tadrous
Kayla Russell
Ke Bao
Kyeongjin Kim
Leeso Kweon
Leslyn Zhou
Liberty Leatherbarrow Stokes
Lucy Lay
Luke Cahalin
Manil Rai
Mathilda Schmidt
Maya Seth
Maya Tastet
Megan Lim
MengTing Ruan (Stella)
Oli Roper
Panka Fürjes
Qiuxuan Jin
Qiyang Yu
Reid Jameson Potts
Samina Rahman
Sayuri Okazaki
Scarlett Hayes
Seungbum Ha (John)
Sohyun Lim
Stefano Stavrou
Stephanie Pyburn
Tara Ferguson
Teodora Dimitrova
Therese Mastek
Tom Heap
Tongzheng Chu
Violet Wang
Xiaohua (Laura) Liu
Xinyi Zhang
Ya Lucia Kang
Yangzhizhuo Qu
Yawen Chen
Ye Zhang (Lily)
Yeji Kim
Yelley Genkin
Yichen Liao
Yuanming (Krystal) Song
Yufei Liu
Yuming Xu
Yuna Goda
Zhaowei Wang
Zih-Jie Weng (Artemis)
Ziru Wang
Ornaments of Obsolescence
Gerick King
This project looks at waste as a feature rather than a flaw of contemporary consumer society, arguing for an acceptance of waste rather than a rejection of it. Like accepting the imperfections of a person whom one loves, it is about coming to terms with the chaos found in the situation one is caught in. The chaos of waste ought to be framed and viewed from a position which allows one to confront it to a manageable degree; this is achieved through ornamentation, which Michael Mostoller defines as the first manifestation of human activity that ‘aspires an object into language’ – as a primary expression of possession.
Ornaments of Obsolescence reinterprets plastic waste as a source of beauty through the process of the cyanotype – a photographic printing formulation sensitive to light. Traces of waste objects are rendered into ornamental tiles framed within a dado (the lower section of a wall) to reify and ‘re-posses’ waste from the chaotic sublime into an atmosphere or ambience which seeks to evoke the truth of the persistence of waste and its power to shape the world today. Ornaments of Obsolescence proposes that to fully own the issue of waste, we must first be able to dwell in it.
Instagram: @gericking
Email: gerickking@gmail.com
