The Silicone cast suit is part of the Telexst collection by Zoe Schlacter and I.
We created a custom textile for this look using laser-cut molds to cast pearlescent silicone onto digitally embroidered organza. The textile was finished with hand beaded sequins and beetle wings. Scroll down for process documentation.
Laser cutting custom designed mold
Silicone cast organza fabric test
Squeegeeing liquid silicone in plexi mold
Hand embroidery on cast silicone organza fabric
The Zuckerstone Necklace
The Zuckerstone necklace was created in collaboration with artist Zak Ziebell. The pendant is a full-color 3D print of a model of Mark Zuckerberg. The model of Zuckerberg's face was made with photogrammetry. The process of piecing together a 3d model using photos of an object from all angles. The model is made through taking images from a youtube video of a press conference. The Zuckerstone has been embellished with crystals and suspended from a chain with laser cut charms. Scroll down for process documentation.
Machine Learning Nail Art Dress
The Machine Learning #nailart dress is made in collaboration with artist Zak Ziebell. The digital print was designed by an open source machine learning program- a computational process inspired by the metaphor of the biological functions of neurons. The program was trained on 20,000 images from the #nailart tag on Instagram to teach the program what nails look like. The resulting digital print is the computer's understanding of what #nailart. Though it looks like a traditional repeat pattern the pixels in the all over textile design(seen on the tube) are in fact each unique.
Scroll Down for documentation.
Peach Blossom Shangri-la 2.0
Peach Blossom Shangri-La 2.0 is an interactive mixed reality installation speculating egalitarian cultural exchange mediated through the internet. The piece is an updated revision of the ancient Chinese political text Peach Blossom Shangri-La. Through riffing on tropes of techno-Orientalism and appropriating/decolonizing sections of verse from Ezra Pound's Cathay, the piece forms an updated eroticized text that hints to a speculative space of cultural fluidity. The piece also employs Oliver Laric's YuanMingYuan plinth 3d scans through 3d printing them as the controllers to navigate the space. Timothy Wang and I are interested in using Laric's plinth as a symbol/logo for speculative egalitarian exchange.
The plinths have an interesting back story, they are originally looted from the Yuan Ming Yuan gardens in China(though interestingly these Chinese plinths were in the western wing of the garden aimed to mimic Greek plinths) and donated to the Norway Kode museum. Recently a Chinese tycoon donated a large sum of money in exchange for the plinths to be 'gifted' back to China which caused much controversy, since under international law, China technically has the ownership to it and buying it back legitimizes the looting as rightful acquirement. Oliver Laric's 3d scanning of the plinths and making it available for free to download is a symbolic gesture of circumventing the geopolitical cultural ownership dialogue and thinking about it in terms of global/digital citizens. Thus we are interested in using these plinths as a symbol of our speculative space. They reoccur both as 3d models in the oculus plinth as well as 3d printed plinths in the physicial sculpture where the viewer touches to navigate the oculus environment.
Created in collaboration with Timothy Wang.
Exhibited at Sol Koffler for the RISD Digital Media Biennale 2016
Exhibited at RISD Museum in the 'Prisoner's Cinema' exhibition 2016
“Separate Threads” explores the multiplicity and hybridity of online identities. On the Internet, it is possible for one person to cultivate many identities, which may or may not be connected to each other, and which may have different degrees of anonymity. In this piece, a hypothetical person, with two separate cyber-identities-- a golfer and a chemtrail conspiracy believer-- accidentally come together in cyberspace.
To produce the textual elements of this piece, we scraped text posts from specific forums and ran them through a Markov chain algorithm to generate text that borrows from the words of users on the forum, simulating an average-- yet somewhat garbled-- post. This abstracts away from any individual poster's identity and creates an algorithmic, ephemeral representation of the character's online identity. Each sequence embroidered on the garments was created by the Markov chain produced using the corpus that relates to the garment’s theme. A longer version of this Markov chain is projected over the models and garments.
The pixelated Morphsuits featured underneath the garments, I made in collaboration with Brian Kane and Simon Scheiss.
UV printed stacked lasercut masonite boards coated with resin.
oil on canvas
formlabs 3d printed resin
24 x 24 in
Vacuum formed plastic, spray paint, shan zhai garments
Silicone cast voronoid shape made with laser cut and then vacuum formed mold
various textiles sampling
Laser rastered and cut plexi chain mail
laser cut/rastered robot hand
hand beading on original jacquard weaving
Hand and digital embroidery test
Woven lenticular fabric test
Original plotter cut vinyl pink sequins then hand beaded
plotter cut pink vinyl voronoi test
Clothing by Amelia Zhang
Photography by Jia Qi
Styling by Layla Saito
Love and Victory
Apparel by me (With laser cut custom sequins and custom embroidery)
Photo look book by Jia Qi
Models: Roy Xu and Layla Saito
Shan Zhai is the Chinese phenomenon of counterfeit culture. Shan Zhai moves beyond the imitation logic of counterfeit culture and creates a free play of pirated signifiers of desire, exposing the falsehood of commodity fetishism. Shan Zhai’s critique is that, it is the reductio ad absurdum of commodity fetishism.
Shan Zhai is marked by excess. It originates from an excessive desire. The global fashion industry has created an enormous desire in consumers beyond the scope of their target middle/upper class customers. This excessive desire is the driving force of Shan Zhai. Shan Zhai also practices an aesthetic of excess. Its design mantra is maximum accumulation, combining too many signifiers of desire to the point where meaning collapse: e.g. combining multiple pirated logos on a single shirt(often competitors), using decontextualized English text as a purely aesthetic signifier for class and contemporaneity, piling on trendy elements regardless of compatibility.
Shan Zhai is a methodology I have found to navigate a global fashion world as a western education Chinese Canadian designer. Growing up in China, I thought wearing Shan Zhai was deeply embarrassing, it represented to me as failure. Shan Zhai evidenced China’s outsider status, participating in fashion not as an innovator but an anonymous, cheap maker. Through a gradual more sophisticated understanding of navigating identities, learning to embrace agency in the individual even when encountering monolithic institutional or cultural forces, Shan Zhai now has come full circle and is in fact is emblematic of the contemporary aesthetic, a Baudrillardian critique of the fashion landscape.
Exhibited at Trinity Square Video, Toronto, Canada. September 5th-23rd.
Lyfe Loggin Thoughtz
Life Logging Wearables is a project which created in partnership with the Digital Culture and Media Lab at the University of Ontario Institute of Technology). The project involves the use of narrative clips which is worn by Zhang in order to document her life and the development of a selfie suit. 2014. In June of 2015 Samantha Reid presented on behalf of Amelia Zhang on the invitation of Transhumanism Conference at Juniata College, Pennsylvania to demo the Lyfeloggin’thoughtz suit and blog.