The mobile version of the Galileo Drawings App is called simply Touch The Sun after the exhibition that sparked the idea for it. Touchscreen drawing possibilities are what first sparked my interest in creating a drawing-driven interaction for the Solar Dynamics Observatory images.
This desktop application was designed for Chabot Space and Science center. Users are presented with recent images from the Solar Dynamics Observatory and prompted to make guided observations, using their fingers on the touchscreen to draw the features they see.
This is the main user interface for an exhibition at Chabot Space and Science Center. It is driven largely by imagery from the Solar Dynamics Observatory: a NASA mission in orbit broadcasting stunning imagery of the Sun back to Earth.
Touch the Sun is a NASA funded project with a gallery diplaying images from the Solar Dynamics Observatory. The interior is an organic space with natural fibers and wood, custom furniture and hand-painted murals. The earthy look is to contrast with a set of screens where users interact with the images.
De-Mobbing is an exhibition on post-military space curated by Brian Karl, program director at The Headlands Center for the Arts. I’ll be showing images from my series West Mountain Exposure: shot near the Idaho National Labs facilities last November.
I’m happy to be included in this year’s juried exhibition at Southern Exposure in San Francisco. I’ll be showing the first print from my new series of optical arrangements shot in rural Sweden: a cropped version of the the untitled piece is seen above. The juror this year is Denise Markonish, a curator at MASS MoCA.
I designed this house where half the rooms are white with colored light, and half are colored with white light. People can reach in with their hands, and compare what their skin looks like in the adjacent rooms.
My public art proposal piece “Things Are Looking Up” is included in the new publication from Chronicle Books: “Everything is Going to be OK”.
This pocket-sized volume is filled with artwork bearing mottos of encouragement and affirmation. Featuring work from a diverse roster of indie artists, designers, and crafters.
The LAB has been around for 26 years, but if you hang around the place for any length of time you’d swear it was a fresh and ambitious start-up.
-Do come out and support the LAB, and say hello to me.
art.tech at The LAB is a three-day festival celebrating the intersection of art and technology. Artists include Laetitia Sonami and Eats Tapes
In March I’m producing the group exhibition “It’s The Way That You Move” -curated by Katrina Lamb and Jeff Ray. The Exhibition will be on view at 2501 Bryant Street, March 7th-April 1st. Opening reception is March 7th 7-11PM. “It’s The Way That You Move” showcases artists who use bodies to explore issues around ritual, performativity, the social body, the body in context.
“The Counter Cultural Hour” is a monthly series of screenings where Re/Search founder V. Vale interviews creative movers-and-shakers who have not yet given up on changing the world. These screenings are produced in collaboration with filmmaker Marian Wallace.
Million Fishes presents Worlds: a resident artist exhibition. Our October exhibition Worlds, features our resident artists in an endeavor to explore the limits of traditional installation techniques, all with a strong focus on cross-discipline collaboration.
Phenomenon is an evening of art and music presenting the work of Nate Boyce, Shawn Lani & PJ Reptilehouse, Charles Sowers and Paul Stepahin, with musical performances by the sound collective TripKnight.
“On the top floor, San Francisco-based artist Ulrika Andersson’s existential inquiry, ‘The Stars Come Out to Mock Me’, a bravura kinetic mural with vinyl lettering looms across San Francisco-based artist Tim Sullivan’s ‘450 x Disaster’, a pile of matchboxes of the motel room variety.”
Power and Affection employed my own drawings and writing alongside signature text and design methods derived from pop music. Very emotional short texts and heraldic graphic images were displayed together in this stately city-owned gallery.
“Andersson’s elegant drawing of a woman with arms and legs akimbo, leaving her exposed and presumably vulnerable. Yet her body is literally a gray area, and her chin lifted high”