An allusion to the Japanese tradition and its mythical origin, the project explores the nature of time and energy in terms of materiality and the virtual. It is said that if one folds 1000 paper cranes, a crane will grant you a wish. Traditionally, a Japanese woman will fold 1000 cranes during her engagement, which her father presents to the groom upon their marriage.

As representations of the work one should be willing to give to their partner, each crane can be seen as an object that encapsulates a specific amount of time and energy: they take about 10 minutes to fold and each requires the same series of folds.

In the aftermath and deconstruction of an engagement, I found that there were two different concepts of how to put in work: material and virtual. During the conflation of the two- the virtual work had potential to circumvent the actualized and vice versa. The weight of the unfolded sheet is indicative of this critically distracting moment.

In his book, In Praise of Shadow, Junichiro Tanizaki writes about how the traditional Japanese aesthetic works within the constraints of the physical world - specifically with regard to light and shadow. The gold foil in lacquerware is supposed to be viewed by candlelight, emerging from darkness while dinner is being served. Tanizaki comments that to see them in harsh, artificial light cheapens their experience, making them less appreciable in western cultures that light their world without finding beauty in darkness. Working with the refractive behavior of photons, the Japanese traditionally lighted some of their rooms according to sunrise and sunset by putting windows at the tops and bottoms of the walls to capture the differences in hues.

While on a larger scale, I would agree that materiality goes largely underappreciated in first-world, western cultures (SEE OUR ECONOMY: fast fashion, tech industry, etc…), and that this impulse to light stems from the same lack of appreciation and understanding – for the most part I don't believe in dichotomies as they often tend to actually be spectral. I have found that the incongruities that appear during the construction of visual metaphor can often relate to Latour-ian matters of concern. Setting up the dichotomies of energy/production/material vs. potential/strategy/virtual inherently deconstructs them due to their intersectional nature by asking the viewer to question or create their individual value judgment rather than be a passive consumer of pedagogy..

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