Dislike, 2018

Vinyl scrim, masonite, bath mats, thread, grommets, varnish, alcohol and water-based paint markers. LED red strip lights. 16 feet x 4 feet. 


        We live in an online focused world; liking, sharing, posting and even dating. Online
dating apps have taken over the modern relationship world. Users spend hours swiping
through profiles, judging potential partners by their pictures, not their personality. Yet instead of finding romance, users are bombarded with online sexual harassment from unsolicited nude photography to inappropriate texts. This problem emerges from the barrier that the screen creates, it disconnects us from the actions we do online. The screen gives users a sense of protection, allowing the viewer to be comfortable behaving in unethical ways, even criminal ways, offline. Society, including ourselves, needs to realize that online sexual harassment is as serious and damaging as its offline counterpart.
        The Dislike installation exposes my personal experience with online sexual harassment, within the context of the popular dating app: Tinder. Once the first message is received, if deemed inappropriate, the user’s profile is printed out, and their message painted over their photograph. This static representation compels the viewer to contemplate the text, unable to swipe away if they felt uncomfortable, they are forced to face it. Thus the viewer enters a state of internal reflection of their own online sexual presence.  

Below I discuss the challenges I faced with the installation process.  

For a deeper dive into this installation and my thesis (as of 2018), is available in PDF format upon request. 

GradEx 2018

The installation process for this exhibition brought unforeseen challenges. One major factor was the limit of space, having to put most of the work vertical - rather than 50/50 (see Final Critique). This caused an issue due to the weight of the vinyl portions, having to problem solve on the spot to make sure the work would stay on the wall. However, the installation towered over the audience - absorbing them into the piece itself. This bodily connection allowed the audience to feel comfortable and open up about similar experiences they had in relation to the piece. 

Final Critique 2018

The installation process for the final thesis critique allowed for full control. Being able to experiment with lighting, proportions, and overall experience was an amazing learning tool. In the end, having a dark room (as pictured) was not ideal due to the limitations of readable it created. However, it created an intense emotional response with the audience that I did not expect. In a perfect situation the room would be slightly dimmed. 

Using Format