skin scape's 3
2012 Studio Anise, Soho, New York
Photography by Abel Yee
Through the image of the body as a vessel, in the performance “Skin Scape 3”, the video projection is a translation of the movements of my body using the interaction program’s Michelangelo. It captures the body movements though the Japanese lantern and makes drawings on the wall. I think of the video projection as operating in much the same way in relation to my body that the sculpture does; it is an extension of my physical form.
skin scape's 3
2012 Studio Anise, Soho, New York
Photography by Abel Yee
Through the image of the body as a vessel, in the performance “Skin Scape 3”, the video projection is a translation of the movements of my body using the interaction program’s Michelangelo. It captures the body movements though the Japanese lantern and makes drawings on the wall. I think of the video projection as operating in much the same way in relation to my body that the sculpture does; it is an extension of my physical form.
skin scape's 3
2012 Studio Anise, Soho, New York
Photography by Abel Yee
Through the image of the body as a vessel, in the performance “Skin Scape 3”, the video projection is a translation of the movements of my body using the interaction program’s Michelangelo. It captures the body movements though the Japanese lantern and makes drawings on the wall. I think of the video projection as operating in much the same way in relation to my body that the sculpture does; it is an extension of my physical form.
skin scape's 3
2012 Studio Anise, Soho, New York
Photography by Abel Yee
Through the image of the body as a vessel, in the performance “Skin Scape 3”, the video projection is a translation of the movements of my body using the interaction program’s Michelangelo. It captures the body movements though the Japanese lantern and makes drawings on the wall. I think of the video projection as operating in much the same way in relation to my body that the sculpture does; it is an extension of my physical form.
skin scape's 3
2012 Studio Anise, Soho, New York
Photography by Abel Yee
Through the image of the body as a vessel, in the performance “Skin Scape 3”, the video projection is a translation of the movements of my body using the interaction program’s Michelangelo. It captures the body movements though the Japanese lantern and makes drawings on the wall. I think of the video projection as operating in much the same way in relation to my body that the sculpture does; it is an extension of my physical form.
skin scape's 3
2012 Studio Anise, Soho, New York
Photography by Abel Yee
Through the image of the body as a vessel, in the performance “Skin Scape 3”, the video projection is a translation of the movements of my body using the interaction program’s Michelangelo. It captures the body movements though the Japanese lantern and makes drawings on the wall. I think of the video projection as operating in much the same way in relation to my body that the sculpture does; it is an extension of my physical form.
skin scape's 3
2012 Studio Anise, Soho, New York
Photography by Abel Yee
Through the image of the body as a vessel, in the performance “Skin Scape 3”, the video projection is a translation of the movements of my body using the interaction program’s Michelangelo. It captures the body movements though the Japanese lantern and makes drawings on the wall. I think of the video projection as operating in much the same way in relation to my body that the sculpture does; it is an extension of my physical form.
skin scape's 3
2012 Studio Anise, Soho, New York
Photography by Abel Yee
Through the image of the body as a vessel, in the performance “Skin Scape 3”, the video projection is a translation of the movements of my body using the interaction program’s Michelangelo. It captures the body movements though the Japanese lantern and makes drawings on the wall. I think of the video projection as operating in much the same way in relation to my body that the sculpture does; it is an extension of my physical form.
skin scape's 3
2012 Studio Anise, Soho, New York
Photography by Abel Yee
Through the image of the body as a vessel, in the performance “Skin Scape 3”, the video projection is a translation of the movements of my body using the interaction program’s Michelangelo. It captures the body movements though the Japanese lantern and makes drawings on the wall. I think of the video projection as operating in much the same way in relation to my body that the sculpture does; it is an extension of my physical form.
skin scape's 3
2012 Studio Anise, Soho, New York
Photography by Abel Yee
Through the image of the body as a vessel, in the performance “Skin Scape 3”, the video projection is a translation of the movements of my body using the interaction program’s Michelangelo. It captures the body movements though the Japanese lantern and makes drawings on the wall. I think of the video projection as operating in much the same way in relation to my body that the sculpture does; it is an extension of my physical form.
skin scape's 3
2012 Studio Anise, Soho, New York
Photography by Abel Yee
Through the image of the body as a vessel, in the performance “Skin Scape 3”, the video projection is a translation of the movements of my body using the interaction program’s Michelangelo. It captures the body movements though the Japanese lantern and makes drawings on the wall. I think of the video projection as operating in much the same way in relation to my body that the sculpture does; it is an extension of my physical form.
skin scape's 3
2012 Studio Anise, Soho, New York
Photography by Abel Yee
Through the image of the body as a vessel, in the performance “Skin Scape 3”, the video projection is a translation of the movements of my body using the interaction program’s Michelangelo. It captures the body movements though the Japanese lantern and makes drawings on the wall. I think of the video projection as operating in much the same way in relation to my body that the sculpture does; it is an extension of my physical form.
skin scape's 3
2012 Studio Anise, Soho, New York
Photography by Abel Yee
Through the image of the body as a vessel, in the performance “Skin Scape 3”, the video projection is a translation of the movements of my body using the interaction program’s Michelangelo. It captures the body movements though the Japanese lantern and makes drawings on the wall. I think of the video projection as operating in much the same way in relation to my body that the sculpture does; it is an extension of my physical form.
skin scape's 3
2012 Studio Anise, Soho, New York
Photography by Abel Yee
Through the image of the body as a vessel, in the performance “Skin Scape 3”, the video projection is a translation of the movements of my body using the interaction program’s Michelangelo. It captures the body movements though the Japanese lantern and makes drawings on the wall. I think of the video projection as operating in much the same way in relation to my body that the sculpture does; it is an extension of my physical form.
skin scape's 3
2012 Studio Anise, Soho, New York
Photography by Abel Yee
Through the image of the body as a vessel, in the performance “Skin Scape 3”, the video projection is a translation of the movements of my body using the interaction program’s Michelangelo. It captures the body movements though the Japanese lantern and makes drawings on the wall. I think of the video projection as operating in much the same way in relation to my body that the sculpture does; it is an extension of my physical form.
skin scape's 3
2012 Studio Anise, Soho, New York
Photography by Abel Yee
Through the image of the body as a vessel, in the performance “Skin Scape 3”, the video projection is a translation of the movements of my body using the interaction program’s Michelangelo. It captures the body movements though the Japanese lantern and makes drawings on the wall. I think of the video projection as operating in much the same way in relation to my body that the sculpture does; it is an extension of my physical form.
skin scape's 3
2012 Studio Anise, Soho, New York
Photography by Abel Yee
Through the image of the body as a vessel, in the performance “Skin Scape 3”, the video projection is a translation of the movements of my body using the interaction program’s Michelangelo. It captures the body movements though the Japanese lantern and makes drawings on the wall. I think of the video projection as operating in much the same way in relation to my body that the sculpture does; it is an extension of my physical form.
skin scape's 3
2012 Studio Anise, Soho, New York
Photography by Abel Yee
Through the image of the body as a vessel, in the performance “Skin Scape 3”, the video projection is a translation of the movements of my body using the interaction program’s Michelangelo. It captures the body movements though the Japanese lantern and makes drawings on the wall. I think of the video projection as operating in much the same way in relation to my body that the sculpture does; it is an extension of my physical form.
skin scape's 3
2012 Studio Anise, Soho, New York
Photography by Abel Yee
Through the image of the body as a vessel, in the performance “Skin Scape 3”, the video projection is a translation of the movements of my body using the interaction program’s Michelangelo. It captures the body movements though the Japanese lantern and makes drawings on the wall. I think of the video projection as operating in much the same way in relation to my body that the sculpture does; it is an extension of my physical form.
skin scape's 3
2012 Studio Anise, Soho, New York
Photography by Abel Yee
Through the image of the body as a vessel, in the performance “Skin Scape 3”, the video projection is a translation of the movements of my body using the interaction program’s Michelangelo. It captures the body movements though the Japanese lantern and makes drawings on the wall. I think of the video projection as operating in much the same way in relation to my body that the sculpture does; it is an extension of my physical form.
skin scape's 3
2012 Studio Anise, Soho, New York
Photography by Abel Yee
Through the image of the body as a vessel, in the performance “Skin Scape 3”, the video projection is a translation of the movements of my body using the interaction program’s Michelangelo. It captures the body movements though the Japanese lantern and makes drawings on the wall. I think of the video projection as operating in much the same way in relation to my body that the sculpture does; it is an extension of my physical form.
skin scape's 3
2012 Studio Anise, Soho, New York
Photography by Abel Yee
Through the image of the body as a vessel, in the performance “Skin Scape 3”, the video projection is a translation of the movements of my body using the interaction program’s Michelangelo. It captures the body movements though the Japanese lantern and makes drawings on the wall. I think of the video projection as operating in much the same way in relation to my body that the sculpture does; it is an extension of my physical form.
skin scape's 3
2012 Studio Anise, Soho, New York
Photography by Abel Yee
Through the image of the body as a vessel, in the performance “Skin Scape 3”, the video projection is a translation of the movements of my body using the interaction program’s Michelangelo. It captures the body movements though the Japanese lantern and makes drawings on the wall. I think of the video projection as operating in much the same way in relation to my body that the sculpture does; it is an extension of my physical form.
skin scape's 3
2012 Studio Anise, Soho, New York
Photography by Abel Yee
Through the image of the body as a vessel, in the performance “Skin Scape 3”, the video projection is a translation of the movements of my body using the interaction program’s Michelangelo. It captures the body movements though the Japanese lantern and makes drawings on the wall. I think of the video projection as operating in much the same way in relation to my body that the sculpture does; it is an extension of my physical form.
