Digital Afterlife_b.1922_Opened File, Media installation (2019)  Audio collaboration with Trails    Sarah Jasmine Hodgson uses new technologies to examine what makes us human, what we collect, our sense of purpose, our mortality: the human condition. Sarah Jasmine asked her grandmother to select sentimental objects that mark significant points in her life, such as the passing down of family heirlooms, marriage, and gifts from loved ones. Each of these objects is put through 3D photogrammetry processing which creates accurate 3D models of the real objects. This process allows Sarah Jasmine to preserve these objects as extensions of her grandmother's life for the digital age. However, she fragments these models and collages them into abstract dilapidated forms. This act of fragmentation evokes the dilapidation and alteration of human memory, forever subject to shifting change. For Sarah Jasmine, it is important to find altruistic means for the digital cool precision of technology. This project is a time capsule, it memorializes and celebrates her grandmother's life, offering a digital afterlife.
       
     
 Familial Memento, media installation (2018)  This video and installation is inspired by the vanitas still life painting. Popular during the fifteenth century, they typically contained collections of objects symbolic of the inevitability of death, transience, vanity of earthly achievements as well as its pleasures. This work functions as a contemporary vanitas still life but rather than to use paint as its traditional medium, the work utilizes photography and 3D photogrammetry processing to capture and preserve the artist’s sentimental possessions. This processing digitally abstracts the objects in a way that conceals and dilapidates them from their original state.
       
     
 Abstracted Birds, Inkjet Print, 24’’x72’’ (2018)  This photographic print is a composite of local endangered birds from the Ottawa region. The imagery is produced from a process of image taking, 3D photogrammetry processing, and abstraction.
       
     
 Warped Landscapes, Inkjet Prints, 24’’x42’’ (2018)  Using found imagery, this work explores the landscape through unconventional perspectives. Using processes of scanography and collaging, I disrupt the conventionality of the landscape genre.
       
     
 Surfactant, Inkjet Print on Plinth, 63’’x42’’x 18’’ (2017)  Surfactant explores the aesthetic beauty of the Ottawa River and its seasonal change through the photographic lens. This work uses photo collage as a way to achieve a perspective foreign to reality while simulating the realistic detail of documentary photography. The work seeks to engage in the relationship between photography and science, while simultaneously opening a dialogue with painting. The image references the flattened surface and gestural form of abstract expressionism; but it exchanges the ethos of the gestural human hand for the mechanical eye of the camera.
       
     
 Surface Tension, Mixed Media (2018)  Keshav Deeljur, Sarah Hodgson, Lucy Oulanova, Devansh Shah  This is an interactive artwork produced through the collaboration of artists and engineers. It resides in the STEM Complex at the University of Ottawa.  Surface tension describes the force of attraction between individual water molecules creating a bond resistant to external pressure. This phenomenon is a beautiful display of strength, cooperation, and unity. The team was inspired by this phenomenon and drew inspiration from it visually and metaphorically.  The team began their research by taking water samples from the Ottawa River. They then documented their findings through microscopic photographs. The photographic research translated into the line drawings that are scrolled across the paneled wall. The drawings are microorganisms, as well as other biotic factors. The panels are interconnected and smoothly programmed to create an undulating motion reminiscent of water. This metaphor of water is aided by the raised acrylic which simulates the play of light over the surface of water.  This project was made possible with the generous support of the Engineering Faculty and Visual Arts Department of the University of Ottawa  Special thanks to: Hanan Anis, Chris Falconi, Atticus Gordon, David McDougall, Sarmad Nomani, Nikhil Peri, Sasha Phipps, Chantal Rodier, Laura Weller, Ali Sanaknaki, and Mohamed Abdrabou