𝒎𝒂𝒚𝒂 𝒆𝒓𝒊𝒏 𝒎𝒂𝒔𝒖𝒅𝒂

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The Borderers (2024)

Material: projector, stable diffusioin (AI), p5.js, table, archival materials, photography etc.

The Borderers is a video installation work in which the artist feeds both the photographs of the skin abnormalities of animals left behind at the aftermath of nuclear catastrophe,  as well as satellite images of polluted land around the world (which both the artist collected) simultaneously to an image-processing AI, to generate an imaginary skin of an imaginary Land.

Through intimate caressing gaze, the artist attempts to subvert socially constructed narrative and planetary trauma which abjects more-than-human deformity and illnesses that post-colonial scholar Mel Chen calls as Queer Toxicities. Based on artist's actual experience during the research trip in Fukushima and the anonymous skin of a land which the film proposes, the collections of archival material on the table speculate the gravity of the pain of our planet which fluctuates between different scales, locations, and time.

Fragments of imaginary lands that could have existed "elsewhere" pose questions concerning post-humanism, anthropocene, pain and intimacy in the foreseeable future.




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