SHA3: 6d0d33ad22c4cf85686c08ee050f31616e3c3aac8ff82aeb7575eef2f1d98dbfba7da5d28c9281c909a249562baf3686bef3936b21e98b3bf84b4f045c82c56d
"There are obviously many things which we do not understand, and may never be able to."
❂
I'm Lu ⧜, an Artist Researcher investigating how to restore the human artist experience of art inspiration and creation to the human experience of art understanding. The human experience of inspiration that leads to and came before the creation of art is often absent from art presentation.
My practice addresses that gap - investigating how human affective experience can be captured, preserved, and returned to the presentation and understanding of art. I document encounters of inspiration as they are felt - not remembered - and present those records alongside the resulting objects as co-equal components of a single work.
Understanding human artist experience strengthens human art experience.
⇌
[encounter::emotion] → [reify::archive] →
[world::manifest]
[document:: REED] + [stone::carve] + [paint::gesture] + [3D::form] + [logic::code]
All I ever wanted is to go to school.
Artist | Designer | Researcher
Locative'gen: 8dgprtv1e9wjr823c5q62t31 | 51.05011000 -114.08529000
interactive systems | spatial narrative | embodied archive
This site is a rejection of
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axm62x10ehm6a837cnq2uga941gq4tvndnjpwx10d5tj0xbcehmpurbmcnp7j831c9qqax1c41tq8wk9e1r6at10exgqj832c5hpp834dxvpw83mdwg78u3541h62wv9cdtj0b90d5tj0rvfdttpavkm5r
The greatest obscenity is one adult attempting to control what another is or is not allowed to see, to hear, to feel, to think.
Writing:
Friend groups as semantic quarantine escape.
Reading:
A Brief History & Ethos of the Digital Garden - Maggie Appleton
Playing:
No Man's Sky and
FALLSTRUKTUR
Listening:
Breakfast on the Morning Tram - Stacey Kent
Watching:
The Ron Resch Paper and Stick Film - Ron Resch
Making: Quiet Places::Videogame Ambience
Thinking: Maybe it's okay to take a break, sometimes.
Cheering for: F1 team Williams Racing
Supporting the Green Ducks! 
The archive accumulates. Memories are not static. The signals are fragmented and non-sequential, but they are all connected by a central, turning point.
[9tqj0kb1drkq682kddwg::FT; 9 HT, FT] -> [i1v1a1r1t1s1::c1; o4 d1 : f1]
My head tilted left. My body followed.
Red.
The ground.
Grass? Plants?
Red.
Above me -
Impossible. Endless.
The unknown word formed deep inside.
Sky.
This was... new.
The c9p7atbkeg sky I had ever seen.
The only sky I had ever seen.
The first sky I had ever seen.
I looked ahead of me.
Red.
My practice explores how memory and residual traces embed themselves in constructed and decaying structures - digital, physical, flickering. Working across interactive systems, 3D printing, pigment and intent, I build modular works that loop narrative and accumulate affect like sediment. I develop procedural forms - unstable, data-shifting - into mutating scaffolds. These forms are translated into matter via 3D printing, where precision collides with error, hand, time, and melt. I treat 3D printing not as output but as an intervention - a glitch-as-tool. A transduction device converting geographic, social, and ghost data into tactile residues. My paintings sediment ink and acrylic, layer by subtractive layer - simulating erosion, accretion, and undoing. They mirror my code and print logics: accumulation, redaction, distortion. Together and apart, these modes question how craft - manual and digital - becomes mnemonic: an interface to interpret and fragment emotional terrain embedded within artifacts, objects, and places.
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