Screenprint On Layered Glass Edition of Dimensions (WxH): 20 x 39cm
Under the artist name conformity.sucks, Danica Dsouza explores the nature of human existence in the wake of biological extinction, post colonialism and late stage capitalism. Her artworks are a response to loss of biodiversity, existential awakening, cultural identity, solastalgia and preservation of memory through material semiotics.
‘Alternate Articulation 3D: Screenprint’ is an experiment employing 2D fabrication in the visual perception of the 3D phenomenon. The piece highlights the tension between new technologies and traditional craftsmanship, by devolving a digitally designed object, using tangible materials and manual craft processes.
The piece embodies a rejection of the digital, a slow processing and reframing (pun intended) of technical skill sets and role of the maker, showing that haptic making alongside material semiotics can thoughtfully craft into existence an alternate consideration for creative expression and reflection of reality
Becoming disillusioned by the fashion industry while practicing as a designer, pattern cutter and maker, Danica stepped back from fashion after more than a decade, turning to fine art practice to express the grief and anguish stemming from acute eco anxiety. She now works as an art framer and printmaking technician while also being a resident artist at St. Barnabas Press in Cambridge, UK.
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Screenprint On Layered Glass Edition of Dimensions (WxH): 20 x 39cm
Under the artist name conformity.sucks, Danica Dsouza explores the nature of human existence in the wake of biological extinction, post colonialism and late stage capitalism. Her artworks are a response to loss of biodiversity, existential awakening, cultural identity, solastalgia and preservation of memory through material semiotics.
‘Alternate Articulation 3D: Screenprint’ is an experiment employing 2D fabrication in the visual perception of the 3D phenomenon. The piece highlights the tension between new technologies and traditional craftsmanship, by devolving a digitally designed object, using tangible materials and manual craft processes.
The piece embodies a rejection of the digital, a slow processing and reframing (pun intended) of technical skill sets and role of the maker, showing that haptic making alongside material semiotics can thoughtfully craft into existence an alternate consideration for creative expression and reflection of reality
Becoming disillusioned by the fashion industry while practicing as a designer, pattern cutter and maker, Danica stepped back from fashion after more than a decade, turning to fine art practice to express the grief and anguish stemming from acute eco anxiety. She now works as an art framer and printmaking technician while also being a resident artist at St. Barnabas Press in Cambridge, UK.
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