25'OH_ZINE 003

“

25 FEET off HIGGINS”

ON “Crisis”

ON “Vandalism”

ON “Noise”

ON “TRANSparency”

ON “HERitage”

ON Cinematography ON Minecraft ALSO ALSO

+ Stickers

...FOLDED LETTER SIZE PAPER IS TINY AF

... THIS ZINE REALLY DOES NOT INCLUDE MUCH SCAN

...IF YOU WISH TO LEARN MORE

Bodies in motion, relational proximity in constant flux, the accidental brushing by each other as trajectories cross. An awkward choreography consisting of clumsy side stepping, erratic gesticulation, and general coltish movements.

This is the artless dance of designers at work. Not by intention; rather an unintended bi-product of design.

I first became aware of it at the weekly outli(N)ers sessions taking place in the Higgins Hall Pit. The group prioritizes the process, rather than the final product, of design: the practice, the active working on, the test. As a result, the session format lends itself perfectly to the staging of the above-described phenomenon. It typically goes something like this:

Participants/reviewers typically start off in one group. As discussions around work ensue, smaller groups are siphoned off to separate parts of the Pit. Eventually, some individuals start jumping between conversations, latecomers join, and others leave. As a result, a subtle orbiting commences. Choreographer Pina Bausch once said: “Repetition is not repetition, ... The same action makes

Zoe Tank “The Choreography of Design”

you feel something completely different by the end”. By virtue of design’s inherent nature of constant revision, I believe designers are privy to the same transcendent experience more often than they are likely aware of. In times of intense focus and collaboration our bodies become an extension of our minds, and for the lack of a better term, a choreography emerges. It has no set structure and to initiate it, or even be aware of it, is almost certainly to deny it.

Interestingly, chefs in professional kitchens have observed a similar delicate dynamic when collectively assembling a complex dish, and as a matter of fact, unabashedly refer to it as ‘the dance’. Perhaps when the culture of the starchitect finally dies out, can designers confidently stake a similar claim.

FROM THE OUTLI (N)ERS FROM

“25 FEET off HIGGINS” 003 - The Unofficial Zine by Pratt Students

This Publication has no direct affiliations with Pratt Institute’s Administration or any Faculty Members of Pratt Institute

Manifesto

“25 FEET Off Higgins” is a truly student-organized zine publication that aims to showcase student work on an accessible and personal scale. We are un-official, unpolished, non-bureaucratic, and off Higgins.

The book’s title acknowledges that Higgins is where we emerged and was where we were originally from. However, we must stay away from its jurisdiction. 25 feet away from Higgins Hall is where students are allowed to smoke. “25 FEET Off Higgins” is where students are allowed to express themselves freely while having proximity to their base. It is a discussion from beyond Higgins; to be brought back into Higgins.

Transgression Trap Unease Wall ON Crisis! ON Vandalism

“Reclaim, Redress, Rewild”

“Resilience ”

“Paranoia Sits in Pretty Things ”

Dillion Marlow

Param Patel

Mehek

“PA’

Celic Ruiz, Elizabeth Amigon

REGOLITH

“Bubble Network”

“Postmortem Bodies”

“Double Agency”

“A LIQUID MOSAIC”

“No Smoking Allowed”

“Meta life:Meta Reality”

“pink girl <3”

“Moon-YE”

Maddie Mertz Impartial Coordination

Brian H. Ching Layout Coordination, Curation

Erica Wong Impartial Coordination, Layout Design

Sea Koohakeaw Cover Design, Poster Design

Jack Young Layout Design

Jiaxin Liu Layout Design

Regine Navarro Editorial

R.+B. Mamus, J. Doss, C. Milligan

Erica & Elsa Wong STUDENT

Hunter Tran

Cen Shen

Adrienne Gaylord STUDENT

Anonymous

Param Patel

David Paraschiv

Jason Barajas

All,includingworks,texts,images,andanyassets,featuredonthis PublicationdoesnotreflecttheopinionsoftheZineProductionGutter team.

Worksofsubmissions,includingtextandvisualassets,mayhavebeen lightlyaltered,orcroppedbythe productiongutterforrepresentational and curational reasons.

Re-Center Postcards

Whitestone Bridge Church

“Pixel Urbanism”

“avoiding noise”

“a phase of absence”

“_____ART”

Aesthet. Digitiz. Glitch. Fact. Physical.

“Cyber Escape”

“Ain’t No Rest for The Wicked”

“DEMOLISHED MMXXII”

“Sherwin”

“A Break”

“PEEP SHOW”

“12 - 22”

Blue Topia

Jack Young

Myunghyun [michael lee]

Sea Koohakeaw STUDENT

Ersan Ilktan

Ana Bulacovschi

Hyias Ching

25 FEET Special

Isabelle Heldenfels

Jiaxin Liu

“ 25 FEET off HIGGINS” +++++ WHAT’S Next +++++ Chat w/ Nina

Maddie Mertz Claudia Dilday

Stickers

The un-housed population of Seattle finds itself in the middle of converging crises. A history of transgressions and forced boundaries have displaced a staggering number of people, resulting in a generational yoke of homelessness, crime, mental health issues, and pollution.

Beginning with settler colonialism in the 1800s and evolving into the modern practices of gentrification, the vulnerable have long challenged the social and physical boundaries imposed by an inept government and the inevitability of climate change.

By reclaiming the lands of Duwamish Greenbelt, historically known as “The Jungle”, the project aims to give a claim back to these people, as well as the agency to create a sustainable future for themselves. Through a series of supportive services which weave through existing un-housed typologies and infrastructures, we can begin to redress the tumultuous history of Seattle’s enforced displacement.

In doing so we can rewild the land in concert, repairing pre-colonial ecological resilience in preparation of flooding in and around the Duwamish Valley. This proposal is one that takes a new stance on the homeless crisis, enforcing not one concrete solution, but rather providing the means necessary for the un-housed to find a solution themselves – one that allows them to take destiny into their own hands.

RISIS on CRISIS

Dillion Marlow illion “Reclaim, Redress, Rewild”

While navigating the sea of life she stumbles upon this island. Will she live forever on this dream island or take a decision to move and die trying to reach the shore?

The comfortable and lonely island seems like a Paradise but in fact, it is a trap made of fears.

Does she have the resilience required to battle her mind, get out of the fear trap island, and try to reach the shore?

RISIS THIS is on CRISIS THIS

Mehek “Paranoia Sits in Pretty Things

”

Paranoia Sits in Pretty Things is, shocker, a piece on paranoia. Sometimes stuff can look so good, flowers, pretty colours, but to one who is paranoid? they see eyes.

Despite the beauty, they’re scared. They’re being watched in a beautiful field that everyone else thinks is nothing to be scared of. This piece also holds near and dear because the eyes are all eyes from my close friends and family, so thank you to them :D

This year I’ve been toying more with the concept of unease. I like making stuff that’s gonna look cool, pretty, enticing, but cover some darker concepts.

This piece was part of a collection of pieces I did, on everything from deception, hookup culture, identity crisis, and more.

RISIS THIS is on CRISIS THIS

C. Ruiz, E. Amigon

“PA’ RIBA PA’ BAJO PAL CENTRO Y PA DENTRO”

We both grew up as Mexican-Americans and have had to experience this invisible cultural pull from both sides which was only made worse in 2016 when Trump became president and the term border became synonymous with wall.

Although we do not speak much about our personal connections to the border, it drove the project all throughout the semester. We understand the U.S.-Mexico border as a line on geographical maps, but in reality, it is a long strip of activity where interactions and flows are constant and vital. It is not binary. The constant transactional flow and activity of people, species, and products allow both sides of the border to function as a single heterotopia.

However, it filters out specific people and thus leads the border to function as an anti-commons where people cannot gather.

Human mobility is regulated through selective and exclusionary border practices. As much as the thin, imaginary line would like to emphasize that they are two different lands, it is still the same soil, air, and animals that cross back and forth with no regard to the border. We propose to add to the heterotopic nature of the border to include people and culture. We understand that the border is charged by many issues, including political, historical and social, however, we are not focusing on everything but zeroing in on the cultural aspect of the border.

A thickening of the imaginary line between two countries will allow us to question how far the boundary reaches into the atmosphere and soil. We thicken both in section and plan, treating each layer differently the higher or lower we go. It becomes a commons of intense mixing of cultures, nature, and time.

RISIS THIS is on CRISIS THIS

is on REGOLITH

REGOLITH is a space combat game where you control an individual crew member on a starship. You can interact with your crew mates, control various systems on the ship, and engage in combat with enemy ships.

The radar and movement systems are fast and complex, and the weapons are powerful and destructive. Fight over the dregs of the universe.

[Scan code for the latest dev. videos]

LITH THIS is on REGOLITH T

Mamus, J. Doss, C. Milligan .+B.

THIS IS on VANDALI

Erica & Elsa Wong rica “Bubble Network”

The bubble network is symbolic of how the city feels, where spaces exist in grids and boxes, and each space is a bubble of noise and movement. They way we traverse the city is heavily defined by the gridded street system, yet we’re intrigued by these pockets of spaces and enclaves that break this rigidity.

Within the collage, there are layers of images documenting the mundane activities of daily life. Against this black and white backdrop, there are crochet net structures imagining the connectivity between these environments and the fluidity between them.

THIS IS on VANDALI

The images shown display a few of these successful studies and I’ve grown very fond of the different reactions people narrate when they visit my studio desk. I’ve come to appreciate the beauty of the afterlife as sites for change and opportunity for other users...

Hunter Tran unter “Postmortem Bodies”

Material changes through the position of mold growth! Throughout this past semester, I developed a series of seven canisters involving mold growth bodies posing the question of...

...what happens after death?

not pictured… but maggots did make an appearance... and it has been a lot of fun nurturing my mold, feeding my mold, and reading them bedtime stories.

VANDALISM on VANDAL ISM

Cen Shen en “Double Agency”

Consider new functional possibilities for large facility buildings left over from the old industrial era.

For me, this building considers the reconstruction of buildings, the reorganization and reformation of space, how to make an old industrial building welcoming to people, and how to realize a complete conversion of functional positioning.

The Red Hook Grain Terminal Elevator, an icon of Port Brooklyn facility architecture, has been abandoned for the last century.

on

So he found peter do, a local clothing brand in the Red Hook area, and transformed this old building into his sample production workshop. It is a brand that supports tailors in strengthening their connection s with local customers, while transforming the building into a place that can accommodate people from the surrounding community.

THIS IS on VANDAL ISM

A proposed community center / food hall / bathhouse in Astoria Park. Open to the public all year round, and engaging community through artistic expression, including both street art and food. Community-centric space enveloped by local street artists’ work.

Adrienne Gaylord drienne “A LIQUID MOSAIC”

The artist wishes to remain anonymous. Remember, we define what our space in Higgins looks like. There is so much fun to be had with a simple set of pins, marker, or screwdriver.

[CAN YOU FIND IT 25 FEET off HIGGINS?]

on

ISM

RISIS THIS is on NOI SE

Wrapped in the fabric and narrative created by media. Bubbles all around us, Individual yet collective by propaganda, Utopian yet Dystopian yet to come is the metalife.

THIS is on NOISE

David Paraschiv avid “pink girl <3”

Hi everyone, I’m pink :)

My current favorite shade of pink is Montana Colors Magenta (9RV-4010), it’s really hot. But usually I resort to a 10% Magenta on the CMYK color picker.

I’m not trying to say that this pink is better than that pink, you need to find your own pink <3... you can do it I believe in you! As long as you don’t try to be coy and tell me blue is your pink. That’s not fair :(

My favorite colors to pair with pink are red and green. Red is like my straight best friend, he’s just like me but he’s not fruity.

Green is when you go “Edit” > “Edit Colors” > “Invert Colors”. But sometimes it’s hard for me to change my colors when I open Rhino and my shaded layers are various shades of bubblegum, peach, fuschia, and blush.

I’m sure you’re asking yourself why I’m this way, although I don’t see how that’s any of your business.

THIS is on NOISE

The visual is a memory that returns the physical

but the feelings fade away.

Powerful as it does not consume physical space; Creative because it defies real-world physical constraints; Significant because it stays lowresolution and pixelated...

Architecture is defined by the “block element” in Minecraft, and everything is scaled to the “block unit”, a three-dimensional pixel. Blocks are placed while being experienced live time, full scale, and first person perspective via screens or VR.

Like pixels, blocks can form almost anything. A low-resolution architectural exploration focuses on spacial relationships and broader formal concepts and implications. Low resolution implies low time cost. With the same logic behind massing models, lower resolution enables speedy iteration and model construction.

The map which started in 2012, and revolutionized in 2019 has received over 100K downloads, and 70K views on YouTube, and has continuously inspire visitors to rethink the rules of urban planning.

[SCAN TO DOWNLOAD MAP]

Blue

THIS is on Lost!

Jack Young “Avoiding Noise”

Sound is not noise, but noise is sound; the deciding factor is that noise is unwanted. It is a disruption in the typical, benign everyday vibrations that are part of the human experience, meaning noise can be a powerful tool.

The gradients and colors used in the background of this section are a representation of just that. They stem from a spectrogram reading, a picture showing sound frequencies of Brazil in April of 2016 during the impeachment of President Dilma Rousseff. Rousseff was a corrupted leader who manipulated the federal budget and became extremely unpopular.

Due to her criminal activities, protests of the hundreds of thousands call for her impeachment. The large breaks of the graph shows just how intense these protests were. The people made noises both literally and politically.

As for the abstract ball-shaped renders spread throughout this section, they are Perlin noise. This is a type of gradient noise for visual effects to increase the appearance of realism in computer graphics. The renders are 3D representations of this, bringing in another definition and dimension of sound.

The background graphic of this page includes a vintage sketch of the inner ear, alluding to of course the physical part of noise and sound, the ear. The inner ear is often described as a membranous “labyrinth” because of its interconnecting series of canals, just like a maze.

The inner ear is vital to interpreting noise and sound as it is where the fluid moves in response to vibrations. It transforms sound waves into electrical impulses in order for the brain to translate them into sounds we can understand, interpret, and experience.

[CAN YOU SOLVE THE MAZE ON THE LEFT?]

THIS is on Lost!

A phase of absence is the space between a cinema & an art gallery. The space emphasizes the presence of absence. This absence allows meaningful processing and discussion of Korean art+film between two cultural forces. A cloud of mist that results from the crashing of the sea &cliff.

par par ency ency

Publicity and privacy is very much something that artist/ creative workers deal with on a regular basis.

Being one of those individuals, I found it difficult to fit into any one of those spectrum indefinitely. Publicity for artists is beneficial on the basis that the exposure enables them to grow and thrive as an individual.

While the advantages of publicity allow artists to further augment their creativity, maintenance of such status becomes burdensome and effects can seep into one’s life.

The antithesis to this, privacy, is the essential comfort of all creative thinkers and an area that enables another form of creative flourishment. Even through their differences, publicity and privacy can intertwine and support artists in ways that can expedite their rate of artistic proficiencies.

IS on TRANS PARENCY T

Ersan Ilktan rsan “Asset No001”

par par ency ency

We now live in a world where our digital lives have altered our perception of reality, measurement of time, the value of our commodities, and aesthetics that suggest direct facts.

There is no distinction between how ‘real’ the experiences humans perceive from their screens and outside them. We are now all cyborgs.

Asset No011 is drawn physically by hand using ink without rules in NY. Blue Lines are drawn after experiencing LA physically on the day of the submission. A digital grid, where there are infinite resources, is superimposed on the site-less analog object.

Asset No012 is a drawing as a photograph of our Higgins Hall commute towards Atlantic Ave superimposed by aesthetic digitization glitching the physical reality of our movement. Is this a rendering? Is this digitally modeled? Who is responsible for the design of our daily experience? Who inhabits our streets? Is it you, the commuter; the person that lives inside the brownstones; the restaurants that serve food with QR codes? Where are the underlying power structures of money, influence, and art when they are all hidden by the seemingly infinite resources on our screens? Can you see them now that it is glitching?

The submission format, QR codes, has forced these drawings to be superimposed with the mark of the medium of transfer, the scanner. The four analog registration marks on the corners allow intensional decisions between solid & void spaces of the drawing. Call-outs & transitions between varying scales act as screens through which the collage drawings are made.

IS on TRANS PARENCY T

Have you seen Ex Machina? Well, I hope you did, because otherwise, I will spoil it for you.

Ex Machina shows us a story of a young man testing an AI’s limits only to end up falling in love with her. She appears to reciprocate his feelings, but in the end, she uses them as a tool to escape her enclosure and live disguised as a human. This series of images depicts Ava - the AI - during her escape.

Even though Ava’s body is not of flesh and bones, she is still a victim of the male gaze, created to fulfill a fantasy of control, subservience, and devotion to her maker.

From her figure to her personality, her sexuality is used as a tool to “humanize” her. But the truth is, robots do not need to be conventionally attractive or sexual to replicate human behavior... unless that’s what you think gives us humanity... there’s a lot to unpack here...

While watching the film it is easy to root for Avawe want her to escape both her physical cage and the illusion of a relationship with Caleb. But when applying the same mindset to our society, we fall short. We are not as progressive as we think: if we could create hyper-intelligent, conscious robots, why do we feel entitled to their service?

Why is this service gender-biased? Why is AI either “rogue” or objectified?

Just take a look at Siri, Alexa, and Google Assistant: you trap a bit of Ava in your pocket every day.

par par

IS on TRANS PARENCY T

Bulacovschi na “Cyber Escape”

Hyias Ching yias “Ain’t No Rest for The Wicked”

I’d rather be hated for who I am, than loved for who I am not - Kurt Cobain

While the movie industry of Hong Kong is still in its “iceage”, Hyias , a Hong Konger currently studying in London, is currently working his way up as an upcoming director & cinematographer. Instead of following paradigms of Hollywood style and Korean films, he devotes himself to a movie industry that he thinks represents himself.

“My philosophy for life is to be true to yourself, don’t be afraid to express yourself, that I think is the key way to be a successful filmmaker.” said Hyias

Scenes shows “The Wicked Ep1” - a story about a group of gang members struggling to choose between moral and benefits.

“My intention on Ep1 is to introduce different characters while laying down clues for the main plot in Ep2.”

on CINEMA TOGRAPHY

你要點做人，得你自己先決定倒。 You are the one to determine what kinda person you’re gonna be.

25 FEET Special “Demolished MMXXII”

Heritages can be anything. It can be something that is present; it can be something that is gone.

It is sometimes not in our consciousness to treasure our surroundings or to appreciate the things that we take for granted.

A lot of Architect’s dreams are to build their own design. Yet, buildings are always demolished. In 2022, 20 buildings including the Nakagin Capsule Tower were demolished. During the Russian Invasion of Ukraine, 59 buildings were destroyed.

【日経クロステック】建物は1972年に竣工した。設計は黒 川紀章（1934～2007年）。特徴的な鉄骨製カプセルは幅 2.5m、奥行き4m、高さ2.5mの大きさで、その中に最小限 の居住機能が収まっていた。11階建てと13階建てのタワ ーに取り付けたカプセルユニットは合計140個に上る。

The building was completed in 1972. Designed by Kisho Kurokawa (1934-2007). The characteristic steel-framed capsule measures 2.5m wide, 4m deep, and 2.5m high, and contains the minimum living function. A total of 140 capsule units have been installed in the 11-story and 13-story towers.

(Nikkei Xtech)

on Archi tecture THIS

これまで1度も交換されなかったカプセルが、初めて建物から解き放たれた。 A capsule that had never been replaced was released from the building for the first time.

Isabelle Heldenfels “Sherwin”

A continued genealogy of my maternal line. This project started when I was looking through a photo album I found in the attic of my childhood home. In it, was a letter written by my twice-great-grandmother from the Kansas State Psychiatric Asylum.

Osawatomie, Kans.

Nov. 21, 1930

Dear Darling little Children,

I was so happy to get your letters and pictures. You are just as sweet as you can be. And I’m going to ask you to ask daddy to take you to the Methodist church and all of you with daddy too to be baptized into that church. How I wish I could be there with you. I’ve been so sick and if I could only see you all I would feel so much better but I’m afraid I’ll never be happy again. Mothers so sorry that she ever whipped you and she wants you to forgive her and I’ll never do it again. Daddy forgive me for fussing over with you and for my sins and take our precious little ones to church. I sinned daddy but I didn’t know it. Forgive me is my prayer.

Your wife and Mother

Ethel

Boggs

p. s. little Martha and little Janie Boggs I know who your fellowsare.Martha’sislittleGeorgeJr.HoodforsureandI thinkthatJanie’smustbeArchie.Theyhaveagoodmother. We must always know a man’s mother and a woman’s father if we select well our mates. Daddy take the little ones away from Sherwin I’m afraid for them to be there.

(twoerasedlines)Jimmiemaybeyouwouldhaveaneasier timewithyourlessonsifMrs.EarlHitchockorAuntHattie taughtyouinsteadofaman. Mother

is on “HER” ITAGE THIS

I took these photos under the Whitestone Bridge near where I live.

Right before the semester started, I wanted to spend more time with my family. The boy captured in the photos was in his own space, in his own world, learning and experiencing the water. The rest of his family were behind me, socializing.

As I captured these moments, my camera intruded into a very private moment of the boy’s self experience of growing to his surroundings.

is on “HER” ITAGE THIS

Maddie Mertz “PEEP SHOW”

Stuck in finals means being stuck in studio.

Photos and postcards are a gateway to a world outside my 2 block radius

“Peep Show” plays on the provocative idea of the old 25-cent peepshows around Time Square. Old postcards from around the country tease the viewer.

You can look, but you can not be there.

2012 2022

As graduation approaches, I’ve been reflecting on how I got to architecture school at Pratt in the first place.

It reaches back to 2012 when I decided I wanted to start drawing again even if I didn’t think I was good at it. I chose to draw textiles and basic geometries because I felt like it was the easiest. It quickly became my favorite activity.

A family member saw the drawings and suggested I might like studying architecture. It was a random, nonchalant comment that ended up putting me on a path to getting a bachelor’s degree.

To this day I don’t really see how the old drawings even relate to architecture. And I can’t imagine going to school for anything else now.

This fall I started doodling shapes and graphics again. Mostly out of a need to lengthen my attention span so I can sit in lecture classes post-covid. It’s always been a default to re-center myself.

They brought back memories of these old drawings and gave me a full circle feeling. Some things do actually stay the same.

is on “HER” ITAGE THIS

Claudia Dilday “12 - 22”

Nina Martineck is a member of the Pratt SoA community who has focused her work on the path of history and theory. On December 13th, 2022, Nina gave a lecture on her research in the Higgins Hall Auditorium, “Places to the People : C.B.J. Synder and the Translation of Schools into Community Centers”. We sat down with her at the beginning of FA22 to discuss her work.

NM Hi I’m Nina, on the side I research old New York City Schools, especially those designed by C.J Snyder .

25 Can you give us a quick summary to introduce us to your research?

NM I research C.B.J Synder’s schools specifically, he’s my favorite, he started working in 1891 for the NY Board of Education and he worked until 1922. During that time he designed or designed additions to about 400 New York City schools, in addition to that he also made a lot of improvements to the typology of school architecture.

He developed the H plan, shaped like a letter H, which allows for two courtyards for outdoor for out door recess and all of those classrooms on the inside of the H get natural light.

He also developed the scissor stair which we still use to this day. Like DNA strains, 2 stairs for double egress. He put bulletin boards in classrooms. He put individual desk into rows.

Most importantly, he put auditoriums in schools that were accessible to the public with out them having to go through the rest of the school, which turned schools and neighborhoods into community centers. That is when schools started to have public programming for adults. That is when (schools) started to host concerts and recitals not necessarily just school functions. That is when schools became polling places where people could go to vote.

Synder developed a lot of different things, separate entrances separate heating systems separate ventilation systems to keep those programs separate which is really, really cool.

25 How did you get into C.B.J Synder?

NM I had an internship last summer at the museum of reclaimed urban space in the Lower East Side. It’s between E 9th and 10th street and avenues B and C and right there is C.B.J Synder’s P.S. 64 which is an H plan. It’s completely boarded up and abandoned. I would walk past this building every day and I was like bro this is one of the coolest things I have ever seen even though (the building) is in shambles. It is in French Renaissance Revival style, it has this gorgeous roof, these gorgeous dormers, it’s crazy. Nothing like that would ever be built today.

I hate seeing it in such disarray… I am assigned to a project about that building. There was this community group named Charas who, after the building stop being used as a school in 1971, they started homesteading it. They started squatting it.

[SCAN QR CODE FOR THE REST OF THIS INTERVIEW]

w/Nina Martineck

“Reclaim, Redress, Rewild”

“Resilience ”

“Paranoia Sits in Pretty Things ”

“PA’ RIBA PA’ BAJO PAL CENTRO Y PA DENTRO”

REGOLITH

“Bubble Network”

“Postmortem Bodies”

“Double Agency”

“A LIQUID MOSAIC”

“No Smoking Allowed”

“Meta life:Meta Reality”

“pink girl <3”

“Moon-YE”

“Pixel Urbanism”

“avoiding noise”

“a phase of absence”

“_____ART”

Aesthetic. Digitiz. Glitch. Fact. Physical.

“Cyber Escape”

“Ain’t No Rest for The Wicked”

“Demolished MMXXII”

“Sherwin”

“A Break”

“PEEP SHOW”

“12 - 22”