Projects from Broad > Dreamcatchers

Dreamcatchers
2016 - 2017

Archival pigment print on vellum and Tyvek, 120”x 24” each
Installation size variable


Watch the video at Broad Institute.

Dreamcatchers
Archival pigment print on vellum and Tyvek
120”x 24” each, Installation size variable
Dreamcatchers
Archival pigment print on vellum and Tyvek
120”x 24” each, Installation size variable
Dreamcatchers
Archival pigment print on vellum and Tyvek
120”x 24” each, Installation size variable
Dreamcatchers
Archival pigment print on vellum and Tyvek
120”x 24” each, Installation size variable
Dreamcatchers
Archival pigment print on vellum and Tyvek
120”x 24” each, Installation size variable
Dreamcatchers
Archival pigment print on vellum and Tyvek
120”x 24” each, Installation size variable
Dreamcatchers, detail
Archival pigment print on vellum and Tyvek
120”x 24” each, Installation size variable
Dreamcatchers, detail
Archival pigment print on vellum and Tyvek
120”x 24” each, Installation size variable
Dreamcatchers, 03a
Digital print
Dreamcatchers, 03c
Digital print
Dreamcatchers, 04a
Digital print
Dreamcatchers, 04b
Digital print
Dreamcatchers, 07a
Digital print
Dreamcatchers, 09a
Digital print
Dreamcatchers, 11a
Digital print

Layers of ideas
risen, written, then erased—

The whiteboards at the Broad Institute of MIT and Harvard are erased once a week. Writings so ephemeral—ideas and thoughts appear almost magically and disappear as quickly as they come into existence. But each time you see these writings on the whiteboards, you are a witness to someone’s ideas beginning to form some sort of shape.

I began tracing these scientific writings on the whiteboards shortly after I arrived at the Broad Institute in the spring of 2016. I regarded my tracing as data gathering and preserving, but I had no idea what I was tracing. These marks existed purely as visual forms—they were a language that I didn’t understand, but I was fascinated with them. I traced them by hand, then scanned the traced writings to create artwork.

Materials and Methods
I gave myself a set of rules for scanning. I scanned the first sheet. Leaving the first sheet where it was, I laid the second sheet on top of the first sheet and scanned, then the third one on top of the second and scanned, then the forth one on top of the third, and so on. I continued until I scanned six layers. Then I started a new set of scans with different variations. Each layer added complexity, creating a web-like image in the end. These scanned images were worked further in Photoshop, then digitally printed on vellum and Tyvek papers.

Each line represents dialogues between scientists’ hands and my hand. Lifted written notes from the whiteboard bear evidence from that particular time, and they became a documentation of the minds of the scientists at the Broad Institute.