Uranus studies ‘feeling at home’ as a new form of Uranism, which allows us to imagine a different social organization of life forms. A homage to writer Sarah Ahmed and her writings about orientation and migration, as philosopher Paul B. Preciado’s Apartment on Uranus. If feeling at home is about finding our way, it’s important to consider our way as a process of reorientation. As bodies move away and return. As we reinhabit spaces, like a second skin that unfolds in the folds of the body. ⠀
The lenticular prints are stills out of a larger video installation/performance at side specific places.
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I am currently graduating from the 4D Department, Cranbrook Academy of Art (MI).
My work navigates the space between technology, social design, and performance, where I create non-normative stories within a wide variety of bodily perspectives.
On the one hand, there are innovative kinetic installations and (video) performances that interweave sexuality and contemporary objects, set in both public and private domains.
I transform varied materials (paper, fiber, metals, silicone) into objects that are capable of contracting, expanding, glowing, or twisting by way of hands, motors, and timers. Multilayered installations manifest in a contemporary unfolded universe, with pleated patterns and transforming structures, electroformed objects, sand casts, video projections, soundscapes, AI and non-AI generated poetry.
I develop social design and interrogate inner forces and artistic implications, renewing online dependency, identity, access, and common language, both physical and digital, in the service of the future of touch, attunement, and being at-home together.
On the other hand, I develop social design and interrogate inner forces and artistic implications, renewing online dependency, identity, access, and common language, both physical and digital, in the service of the future of touch, attunement, and being at home together.
The mission within these two primary areas is to exchange ideas on fluid spaces, transposed into a shared visual language.
Looking at the public area as various physical and digital sex positive spaces, what are the different vernaculars, gestures, scents, sounds and colors that we use to communicate with one other? How do these define, evolve, intersect, and influence on a personal and cultural level in the public realm, digital space, and physical tools that we use?
Background info: Merel Noorlander received a BFA from the Royal Academy of Art, The Hague (NL), growing up in Amsterdam’s Red-Light District amongst self-chosen queer family, captain of their boat. Prefers coffee in trees, challenging gravity.