https://aishapagnes.com Aisha Pagnes Mon, 15 Dec 2025 08:41:57 +0000 https://aishapagnes.com en https://aishapagnes.com/Selected-Works Mon, 15 Dec 2025 08:41:53 +0000 Aisha Pagnes https://aishapagnes.com/Selected-Works Selected works 2015–2024Aisha Pagnes ↗ <img width="4016" height="6016" width_o="4016" height_o="6016" data-src="https://freight.cargo.site/t/original/i/dca0a37dfbec974df77f7a2254551da933ecca381bc42a3f2bed8ff444c92fe9/P20223_4.jpg" data-mid="242509842" border="0" alt="SUPERFICIE I2023Cement and acrylic on canvas160 &times; 120 cm&euro;3,800" data-caption="SUPERFICIE I&lt;br&gt;2023&lt;br&gt;Cement and acrylic on canvas&lt;br&gt;160 × 120 cm&lt;br&gt;€3,800" src="https://freight.cargo.site/w/1000/i/dca0a37dfbec974df77f7a2254551da933ecca381bc42a3f2bed8ff444c92fe9/P20223_4.jpg" /> <img width="3997" height="5988" width_o="3997" height_o="5988" data-src="https://freight.cargo.site/t/original/i/36c829996f1d9a1abadddf1ee1fcb39f523d42edc8d7b3cfdabd87b705af120e/P20221_7.jpg" data-mid="242509840" border="0" alt="SUPERFICIE II2024Oil, gesso and enamel on canvas160 &times; 125 cm&euro;3,800" data-caption="SUPERFICIE II&lt;br&gt;2024&lt;br&gt;Oil, gesso and enamel on canvas&lt;br&gt;160 × 125 cm&lt;br&gt;€3,800" src="https://freight.cargo.site/w/1000/i/36c829996f1d9a1abadddf1ee1fcb39f523d42edc8d7b3cfdabd87b705af120e/P20221_7.jpg" /> <img width="4002" height="5995" width_o="4002" height_o="5995" data-src="https://freight.cargo.site/t/original/i/93ae4aff91da5bf3716e4f409987302335439a2958711f052e9fb2df38dfa13c/P20222_5.jpg" data-mid="242509841" border="0" alt="SUPERFICIE III2024Oil, gesso and enamel on canvas160 &times; 125 cm&euro;3,800" data-caption="SUPERFICIE III&lt;br&gt;2024&lt;br&gt;Oil, gesso and enamel on canvas&lt;br&gt;160 × 125 cm&lt;br&gt;€3,800" src="https://freight.cargo.site/w/1000/i/93ae4aff91da5bf3716e4f409987302335439a2958711f052e9fb2df38dfa13c/P20222_5.jpg" /> <img width="3978" height="5959" width_o="3978" height_o="5959" data-src="https://freight.cargo.site/t/original/i/059adcf0f072395726b0dcf2145219e5f95ab7e2ace32a4c2309cb8dbf574b46/P20145_1.jpg" data-mid="241821678" border="0" alt="TAGLIO I2015Oil and cement on canvas15 &times; 15 cm&euro;360" data-caption="TAGLIO I&lt;br&gt;2015&lt;br&gt;Oil and cement on canvas&lt;br&gt;15 × 15 cm&lt;br&gt;€360" src="https://freight.cargo.site/w/1000/i/059adcf0f072395726b0dcf2145219e5f95ab7e2ace32a4c2309cb8dbf574b46/P20145_1.jpg" /> <img width="3993" height="5982" width_o="3993" height_o="5982" data-src="https://freight.cargo.site/t/original/i/2af42cb4591eedfd0673a82c2ab7d72063a977f4cb334f3512e3f962bf3a3afa/P20143_1.jpg" data-mid="241821682" border="0" alt="TAGLIO II2015Oil and cement on canvas15 &times; 15 cm&euro;360" data-caption="TAGLIO II&lt;br&gt;2015&lt;br&gt;Oil and cement on canvas&lt;br&gt;15 × 15 cm&lt;br&gt;€360" src="https://freight.cargo.site/w/1000/i/2af42cb4591eedfd0673a82c2ab7d72063a977f4cb334f3512e3f962bf3a3afa/P20143_1.jpg" /> <img width="3948" height="5914" width_o="3948" height_o="5914" data-src="https://freight.cargo.site/t/original/i/3a0e0b3dd9616c96328eb2c2c22c6c2223a47d85436a3af676872ea734052921/P20146_1.jpg" data-mid="241821675" border="0" alt="TAGLIO III2015Oil and cement on canvas15 &times; 15 cm&euro;360" data-caption="TAGLIO III&lt;br&gt;2015&lt;br&gt;Oil and cement on canvas&lt;br&gt;15 × 15 cm&lt;br&gt;€360" src="https://freight.cargo.site/w/1000/i/3a0e0b3dd9616c96328eb2c2c22c6c2223a47d85436a3af676872ea734052921/P20146_1.jpg" /> <img width="3948" height="5914" width_o="3948" height_o="5914" data-src="https://freight.cargo.site/t/original/i/0168328753ef4d5ca98422312470958edbf2ac8d5f79daa3fd45e91064f92666/P20146_7.jpg" data-mid="242423799" border="0" alt="TAGLIO V2015Oil and cement on canvas15 &times; 15 cm&euro;360" data-caption="TAGLIO V&lt;br&gt;2015&lt;br&gt;Oil and cement on canvas&lt;br&gt;15 × 15 cm&lt;br&gt;€360" src="https://freight.cargo.site/w/1000/i/0168328753ef4d5ca98422312470958edbf2ac8d5f79daa3fd45e91064f92666/P20146_7.jpg" /> <img width="3923" height="5877" width_o="3923" height_o="5877" data-src="https://freight.cargo.site/t/original/i/bc96e54991800dc206696c3ce8a246c33889c03269d50d0ca4eb187808499671/P20144_1.jpg" data-mid="241821683" border="0" alt="TAGLIO IV2015Oil and cement on canvas15 &times; 15 cm&euro;360" data-caption="TAGLIO IV&lt;br&gt;2015&lt;br&gt;Oil and cement on canvas&lt;br&gt;15 × 15 cm&lt;br&gt;€360" src="https://freight.cargo.site/w/1000/i/bc96e54991800dc206696c3ce8a246c33889c03269d50d0ca4eb187808499671/P20144_1.jpg" /> <img width="3948" height="5914" width_o="3948" height_o="5914" data-src="https://freight.cargo.site/t/original/i/25bd3306b0235c1e0fe80f383cac5f7f2cc29238c7acf274cef028ff9d520fc8/P20146_6.jpg" data-mid="242423798" border="0" alt="TAGLIO VII2015Oil and cement on canvas15 &times; 15 cm&euro;360" data-caption="TAGLIO VII&lt;br&gt;2015&lt;br&gt;Oil and cement on canvas&lt;br&gt;15 × 15 cm&lt;br&gt;€360" src="https://freight.cargo.site/w/1000/i/25bd3306b0235c1e0fe80f383cac5f7f2cc29238c7acf274cef028ff9d520fc8/P20146_6.jpg" /> <img width="3948" height="5914" width_o="3948" height_o="5914" data-src="https://freight.cargo.site/t/original/i/2c023dea97a7e66eacb5002b6b6aab1fe09d81c20a030147e7d0aabc63ad9a40/P20146_5.jpg" data-mid="242423797" border="0" alt="TAGLIO VI2015Oil and cement on canvas15 &times; 15 cm&euro;360" data-caption="TAGLIO VI&lt;br&gt;2015&lt;br&gt;Oil and cement on canvas&lt;br&gt;15 × 15 cm&lt;br&gt;€360" src="https://freight.cargo.site/w/1000/i/2c023dea97a7e66eacb5002b6b6aab1fe09d81c20a030147e7d0aabc63ad9a40/P20146_5.jpg" /> <img width="3978" height="5959" width_o="3978" height_o="5959" data-src="https://freight.cargo.site/t/original/i/d6fe4c2201433ab0225bb3f95d6016d61e70fcb874b745016e794160015757ef/G2024_3.JPG" data-mid="242466402" border="0" alt="VETRO II2024Glass, fiber glass29 &times; 21 cm&euro;620" data-caption="VETRO II&lt;br&gt;2024&lt;br&gt;Glass, fiber glass&lt;br&gt;29 × 21 cm&lt;br&gt;€620" src="https://freight.cargo.site/w/1000/i/d6fe4c2201433ab0225bb3f95d6016d61e70fcb874b745016e794160015757ef/G2024_3.JPG" /> <img width="3978" height="5959" width_o="3978" height_o="5959" data-src="https://freight.cargo.site/t/original/i/bb496dcc6ab771e112c52d27d7285363582ffd9191e2ca24b871fb694c588f44/G2024_1.JPG" data-mid="242466400" border="0" alt="VETRO I2024Glass, silver leaf29 &times; 21 cm&euro;620" data-caption="VETRO I&lt;br&gt;2024&lt;br&gt;Glass, silver leaf&lt;br&gt;29 × 21 cm&lt;br&gt;€620" src="https://freight.cargo.site/w/1000/i/bb496dcc6ab771e112c52d27d7285363582ffd9191e2ca24b871fb694c588f44/G2024_1.JPG" /> <img width="3978" height="5959" width_o="3978" height_o="5959" data-src="https://freight.cargo.site/t/original/i/c7f342aee0f9bc5885fd563b93cfc28317a266f453e172abd9828e88fb983152/G2024_5.JPG" data-mid="242466404" border="0" alt="VETRO IV2024Glass, metal, glass frit29 &times; 21 cm&euro;620" data-caption="VETRO IV&lt;br&gt;2024&lt;br&gt;Glass, metal, glass frit&lt;br&gt;29 × 21 cm&lt;br&gt;€620" src="https://freight.cargo.site/w/1000/i/c7f342aee0f9bc5885fd563b93cfc28317a266f453e172abd9828e88fb983152/G2024_5.JPG" /> <img width="3978" height="5959" width_o="3978" height_o="5959" data-src="https://freight.cargo.site/t/original/i/3cc27c74f3d668b28e4dbccdf5e9592fe8a2c47aea7c0a0b052c87603a261cf5/G2024_4.JPG" data-mid="242466403" border="0" alt="VETRO III2024Glass, metal, gold leaf29 &times; 21 cm&euro;620" data-caption="VETRO III&lt;br&gt;2024&lt;br&gt;Glass, metal, gold leaf&lt;br&gt;29 × 21 cm&lt;br&gt;€620" src="https://freight.cargo.site/w/1000/i/3cc27c74f3d668b28e4dbccdf5e9592fe8a2c47aea7c0a0b052c87603a261cf5/G2024_4.JPG" /> <img width="3978" height="5959" width_o="3978" height_o="5959" data-src="https://freight.cargo.site/t/original/i/a389a453df55eff17254985ffd0c38b52e0438143cd34a16df4ceb1f8e0a59ee/G2024_6.JPG" data-mid="242466405" border="0" alt="VETRO VI2024Glass, metal29 &times; 21 cm&euro;620" data-caption="VETRO VI&lt;br&gt;2024&lt;br&gt;Glass, metal&lt;br&gt;29 × 21 cm&lt;br&gt;€620" src="https://freight.cargo.site/w/1000/i/a389a453df55eff17254985ffd0c38b52e0438143cd34a16df4ceb1f8e0a59ee/G2024_6.JPG" /> <img width="3978" height="5959" width_o="3978" height_o="5959" data-src="https://freight.cargo.site/t/original/i/d69500809e3f9af7400ab3750d2632c857f75eaf5d67c697485ff1b9b49cb681/G2024_2.JPG" data-mid="242466401" border="0" alt="VETRO V2024Glass, silver leaf, gold leaf29 &times; 21 cm&euro;620" data-caption="VETRO V&lt;br&gt;2024&lt;br&gt;Glass, silver leaf, gold leaf&lt;br&gt;29 × 21 cm&lt;br&gt;€620" src="https://freight.cargo.site/w/1000/i/d69500809e3f9af7400ab3750d2632c857f75eaf5d67c697485ff1b9b49cb681/G2024_2.JPG" /> Selected works may be acquired as diptychs or triptychs. Combined pricing and installment payment arrangements are available upon request. For inquiries and acquisitions: ryannon.aisha@gmail.com&nbsp;↗ https://aishapagnes.com/About-1 Mon, 15 Dec 2025 08:41:57 +0000 Aisha Pagnes https://aishapagnes.com/About-1 Selected Works 2015–2024 ↗ Aisha Pagnes Aisha Pagnes is a visual artist based in The Hague, with a long-standing formation in fine and multimedia arts. She graduated from the Dutch Royal Academy of Art and holds a Cum Laude MA in Philosophy from Leiden University, specialising in aesthetics and philosophy of art. Her work has been presented in the Netherlands and internationally. Alongside her studio practice, she publishes, edits, and peer reviews in art criticism and aesthetics, and teaches at Dutch universities. Her practice is driven by a sustained attempt to translate immediate experience into material form. Her work develops through direct engagement with matter, often using found or discarded materials that impose constraints on process and outcome. Although realised largely as painting, the approach is tactile and sculptural rather than pictorial. Working in abstraction, she builds surfaces through repeated gestures of layering, stripping, heating, scorching, deliberately pushing material qualities—weight, drying time, opacity, fracture—until they shift state, and adjusting the work in response.&nbsp;When a surface becomes too fixed, it is destroyed and rebuilt. Each work is finished at the point where further action would collapse its structure, leaving visible the marks of negotiation rather than execution. Subtle differences in density and texture emerge only through slow, dynamic looking. These are not decorative effects, but traces of pressure, repetition, and duration left in the material itself. Contact For inquiries and acquisitions: ryannon.aisha@gmail.com ↗ https://aishapagnes.com/Writing Sun, 05 Mar 2023 21:21:52 +0000 Aisha Pagnes https://aishapagnes.com/Writing Aisha Ryannon Pagnes About&nbsp;︎︎︎ Work&nbsp;︎︎︎ Selected Notes Notes on Painting ︎︎︎ Selected EssaysThe Ethical Value of the Inhumanity in Art: A Levinasian Reading ︎︎︎Selected ContributionsConsiderations on Pain and Suffering in VestAndPage’s performance art ︎︎︎Opening Word: ‘With Every Exhale Lost’ ︎︎︎ TranslationsThe Aesthetic Field: Arnold Berleant’s Philosophy as a New Understanding of Experience ︎︎︎ https://aishapagnes.com/Work Mon, 27 Mar 2023 19:31:50 +0000 Aisha Pagnes https://aishapagnes.com/Work Aisha Ryannon Pagnes About ︎︎︎ Writing ︎︎︎ Works on canvas Superfice III Superfice II Superfice I Prone IV Prone III Prone II Prone I Tagli Sometime in the Beginning Divisione Works on paper Recupero I CorpoAcquaRecupero III Recupero II Installations there i am here you are thereContact Encounter Thought Encounter Iambic Hearts Make Trochees On the Fragmentation of Memory Breath Piece Extended Encounter https://aishapagnes.com/Notes-on-Painting Fri, 17 Mar 2023 21:31:24 +0000 Aisha Pagnes https://aishapagnes.com/Notes-on-Painting Aisha Ryannon PagnesNotes on Painting Writing -&gt;Work ︎︎︎ Painting as verb rather than noun.Painting between control and accident. Painting for the beauty of loss as change.I have been thinking of wether one can paint without submitting the process of painting to a surface statement. If these paintings state anything, it is the tension I experience between the need for historical continuity and the fragmentation of cultural ideas, symbols, stories, and identities. Not that fragmentation wasn’t a condition of the past, but that it has now become a dominant conclusion, or natural state of being. This chaotic sense of multiplicity finds expression in (anti) images with the material: the most tangible, the most immediate element. Composition at the level of matter. What guides the process are principles of execution. I start with an image. The image as sensation. This determines a direction&nbsp;which informs a first action: gesture. Rhythm, texture, and colour as elements determine the form (perpendicular and not parallel to the canvas). What is important is the accident, the aberration as celebration! Whenever an accident intervenes, it must fully take over and significantly change the previously established gesture. Sometimes, the sequence of gestures that ought to follow is clear. Sometimes, only the next gesture is known. Sometimes none at all. All that is known in these occasions has to do with observing and evaluating wether the next gesture is appropriate and to what degree. Sometimes not even this is known, and so I stop painting. I stop moving. Not doing and waiting become the right gestures. Often, the consequence of a gesture upon an established direction requires the destruction of all previous gestures, and by implication, of material (not direction). Destruction is the consequence of a gesture too different from the gestures that led up to it. Similarly, a gesture that becomes too stubborn (no longer open to change) also calls for destruction. What I am staying with is the processes of moving with material, gesture and direction in time, which may or may not end (it ends when nothing else can be done if not to start over, which is something other than destruction as I mean it). Material requires attention. With each gesture the direction alters. As a consequence, each gesture requires variation. Painting as verb then, is the bringing about of a right state of affairs betweenmaterial, gesture, and direction in any given moment. Because materials effect in time, painting is time based, and so this bringing about has no end. A painting as noun is but a point in the act of painting. Painting influences perceptual time. It is important to stay within the time of the paining. Its time is elastic and its tension is given by the interaction of gestures, material, and direction. Painting gestures should correspond to the state of mind of the painter. The state of mind should be clear, that is: attentive, responsive, and decisive. For gestures to be attentive, responsive, and decisive, the state of mind should not antagonise itself unless antagonism is the chosen principle of execution, where one must forget one has chosen so and simply become so, in which case, gestures will likely become schizophrenic. On the other hand, antagonism between gesture, material, and direction requires control, which expresses tension, conflict. Without conflict there is no meaningful change. In any case, if the state of mind is confused, imprecise, indecisive, gesture will record this. Painting while developing new gestural and material techniques invariably leads to mistakes. Mistakes of this sort are mistakes in thinking and execution (wrong predictions, miscalculations, sloppiness, wanting skill). Mistakes are necessary. The source of learning and correction. Painting, as any art, is informed by composition principles, which are in principle restrictions. The above principles determine how one paints and not what one paints. Although the two are inseparable, the emphasis is on the first. [...] Crimsons of flesh and muscles. Prune, mauve, red, blue, black, shadows, whole colour fields, slight film, not gloss but reflective. Depth. To get lost in. Details that can’t be seen, that can be seen, only some times. Salmon, pinks, whites.Luminous blacks, manic reds. https://aishapagnes.com/About Sun, 05 Mar 2023 21:21:50 +0000 Aisha Pagnes https://aishapagnes.com/About Aisha Ryannon Pagnes The works of artist Aisha Ryannon Pagnes favor materiality and bare-boned symbolism, which she develops in painting, photography, installation, and sound. Originally from Venice, Pagnes moved to Indonesia at a young age, where her natural artistic abilities earned her the highest marks in the world and Indonesia for the Cambridge exams in 2010 and 2012, respectively. In 2015, she relocated to the Netherlands to train at the Koninklijke Academie van Beeldende Kunst in the department of ArtScience, previously known as Image and Sound. She has exhibited her work in Indonesia, Italy, and the Netherlands, and is now based in Den Haag, where she is a core member of the artist collective ANNASTATE. The collective is recognized for its contribution to the local art scene as an independent atelier complex and open-event platform. In her paintings, Pagnes shows an affinity for abstraction, where the use of unconventional techniques, rich texture, and symbolic colors converge to suggest spiritual tension. This tension is carried over into her installations, where the fragility of an encounter between two individuals is emphasized. In her understanding of space and architecture, it manifests as a sensibility for the affective meaning of composition. The art behind the width, inclination, and depth of a staircase, as any other architectural element, is when the ungraspable transpires through the poetic structuring of our encounter with the world. It is within this tension that the ecstatic encounter lies, and that art, at its best, attempts to elicit. A selection of her work can be found on the following page. Work ︎︎︎ In her philosophical writings she explores the need for art and its most essential functions in consciousness. The metaphysics of Beauty, the ethical significance of engaging with art objects, and an expanded understanding of art as meaning-making are recurrent topics of inquiry. For the past decade, she has also worked as an editor, proofreader, and translator of articles and essays on art and aesthetics. She is currently deepening her conceptual vocabulary through her studies in philosophy at the Faculty of Philosophy in Leiden University (NL), where she focuses on German Idealism, Enlightenment Aesthetics, and Environmental Aesthetics. Examples of her published writing and contributions can be found on the following page. Writing ︎︎︎ An extended selection of her work and her Curriculum Vitae are available upon request. Contact ︎︎︎ https://aishapagnes.com/Breath-Piece Thu, 09 Mar 2023 21:39:57 +0000 Aisha Pagnes https://aishapagnes.com/Breath-Piece Aisha Ryannon PagnesBreath Piece An enclosed see-through chamber is kept at high humidity and low temperature. Two openings allow the viewers to exhale into the cooled chamber, making visible the interaction of their condensed breath to onlookers.&nbsp; &nbsp; Next Work ︎︎︎Writing ︎︎︎ About ︎︎︎&nbsp; &nbsp; &nbsp; &nbsp; <img width="4812" height="3209" width_o="4812" height_o="3209" data-src="https://freight.cargo.site/t/original/i/2228aa990d4e8cdccef3a62ce86a44faebd1f1c63b3f19c425aee455ed9d65d9/installazione_encounter_11_00001-copy.jpg" data-mid="172091350" border="0" src="https://freight.cargo.site/w/1000/i/2228aa990d4e8cdccef3a62ce86a44faebd1f1c63b3f19c425aee455ed9d65d9/installazione_encounter_11_00001-copy.jpg" /> <img width="670" height="438" width_o="670" height_o="438" data-src="https://freight.cargo.site/t/original/i/52fa310c87ba3ef0e58f204966bc9def307aafd422683785cdf253ba670d10a6/Breath-Piece-1.jpg" data-mid="172091432" border="0" src="https://freight.cargo.site/w/670/i/52fa310c87ba3ef0e58f204966bc9def307aafd422683785cdf253ba670d10a6/Breath-Piece-1.jpg" /> <img width="670" height="1005" width_o="670" height_o="1005" data-src="https://freight.cargo.site/t/original/i/df0e7be3090aab21013dbc81424d780f96c85c00c864d35914f85b6f65a2f168/Breath-piece-2.jpg" data-mid="172091437" border="0" src="https://freight.cargo.site/w/670/i/df0e7be3090aab21013dbc81424d780f96c85c00c864d35914f85b6f65a2f168/Breath-piece-2.jpg" /> https://aishapagnes.com/there-i-am-here-you-are-there Wed, 11 Dec 2024 16:14:59 +0000 Aisha Pagnes https://aishapagnes.com/there-i-am-here-you-are-there Aisha Ryannon Pagnes <img width="670" height="446" width_o="670" height_o="446" data-src="https://freight.cargo.site/t/original/i/80f4a4dc7ebe151f324d887ef6f409656519d15794222467983144ed8ea2c789/hereiam2.jpg" data-mid="223223298" border="0" src="https://freight.cargo.site/w/670/i/80f4a4dc7ebe151f324d887ef6f409656519d15794222467983144ed8ea2c789/hereiam2.jpg" /> <img width="670" height="446" width_o="670" height_o="446" data-src="https://freight.cargo.site/t/original/i/a7114667aa58078612617302a6c1371b321f702e95a43d0627d7abdd0a5801b7/hereiam_1.jpg" data-mid="223223297" border="0" src="https://freight.cargo.site/w/670/i/a7114667aa58078612617302a6c1371b321f702e95a43d0627d7abdd0a5801b7/hereiam_1.jpg" /> <img width="633" height="475" width_o="633" height_o="475" data-src="https://freight.cargo.site/t/original/i/06eaf170c8de85c12090ab357fb2f70e8e27ca1e5e7c1ae5b6ca0a4cd993bd2d/hereiam3.png" data-mid="223223299" border="0" src="https://freight.cargo.site/w/633/i/06eaf170c8de85c12090ab357fb2f70e8e27ca1e5e7c1ae5b6ca0a4cd993bd2d/hereiam3.png" /> there i am here you are there Encounters Through Movement in Darkness and Silence This piece is an immersive experience for at least five participants. They explore a completely dark space for a minimum of 15 minutes, guided only by the dynamic movement of fluorescent magnets attached to their vests. These glowing points of light create the illusion of movement in a seemingly borderless space. The experience consists of two spaces: the antechamber and the chamber. The antechamber serves as a preparatory, mediating space between the bright exterior and the complete darkness of the chamber. Dimly lit with UV lighting, it allows participants to transition gradually. In the chamber, bodies are reduced to single points of light, abstracting identity and form. A facilitator briefs participants on what to expect, the duration of the experience, and safety assurances. They are provided with in-ear plugs, ear defenders, and vests equipped with 6mm-wide fluorescent magnets. The in-ear plugs and ear defenders reduce external noise, heightening awareness of intimate sounds like breath and heartbeat. The magnets act as visual anchors, emitting a soft white hue that fades slowly over 30 minutes. Within the chamber, appearance and language can be abandoned as primary forms of communication. The fluorescent magnets are the sole visual markers, indicating position, direction, and movement. In the absence of visual details, individuals merge into a homogeneous group, the points of light transforming into a dynamic organism negotiating space and agency. Occasionally, physical sensations like a warm touch or a fleeting scent remind participants of their bodily presence, grounding them in the experience. When the heavy curtains separating the chamber from the antechamber are parted, participants follow the light seeping through to the outside. The facilitator guides them to their belongings, answering questions and allowing time for their eyes to readjust to the brightness. Next Work ︎︎︎Writing ︎︎︎ About ︎︎︎&nbsp; &nbsp; &nbsp; &nbsp; https://aishapagnes.com/On-the-Fragmentation-of-Memory Thu, 09 Mar 2023 21:42:48 +0000 Aisha Pagnes https://aishapagnes.com/On-the-Fragmentation-of-Memory Aisha Ryannon PagnesOn the Fragmentation of Memory Interactive installation for a single peron at a time. A circular space is surrounded with an 8-channel suspended speaker set-up. Infrared motion-capture technology responds to the listener's movement within this space, triggering sounds directly opposed to the locus of the listener. In the absence of light, this gives rise to a slight sense of disorientation. Next Work ︎︎︎Writing ︎︎︎ About ︎︎︎&nbsp; &nbsp; &nbsp; &nbsp; <img width="960" height="1449" width_o="960" height_o="1449" data-src="https://freight.cargo.site/t/original/i/176fe424166a60a82f8ae8db3bdd8e9f41ca042b5d1ae3a802b8f9d29c8fa9ac/17810016.jpg" data-mid="172090057" border="0" src="https://freight.cargo.site/w/960/i/176fe424166a60a82f8ae8db3bdd8e9f41ca042b5d1ae3a802b8f9d29c8fa9ac/17810016.jpg" /> https://aishapagnes.com/Thought-Encounter Thu, 09 Mar 2023 21:41:41 +0000 Aisha Pagnes https://aishapagnes.com/Thought-Encounter Aisha Ryannon PagnesThought Encounter Four active speakers are set in a room. A microphone is placed in a space separate from this room. Instructions prompting people to record their thoughts are mounted next to the microphone. Each recording is then processed live and played through the speakers. Recordings sound muffled, slightly distorted in timbre, and fade in and out of eachother. At any given moment, the number of voices heard are 4 or less simultaneously. Next Work ︎︎︎Writing ︎︎︎ About ︎︎︎&nbsp; &nbsp; &nbsp; &nbsp; <img width="975" height="1464" width_o="975" height_o="1464" data-src="https://freight.cargo.site/t/original/i/00c7595ec0355ae8cfccccbec2bc7c07a8aab427289bfedba2db47f271546749/033_30-2.jpg" data-mid="172086214" border="0" src="https://freight.cargo.site/w/975/i/00c7595ec0355ae8cfccccbec2bc7c07a8aab427289bfedba2db47f271546749/033_30-2.jpg" /> <img width="1024" height="1536" width_o="1024" height_o="1536" data-src="https://freight.cargo.site/t/original/i/04374c45e98422227472c6b7b73407d0f80ceb620352ada6f0c3c1567dae71fc/035_32-2.jpg" data-mid="172086215" border="0" src="https://freight.cargo.site/w/1000/i/04374c45e98422227472c6b7b73407d0f80ceb620352ada6f0c3c1567dae71fc/035_32-2.jpg" /> <img width="984" height="1476" width_o="984" height_o="1476" data-src="https://freight.cargo.site/t/original/i/5600905f01b14c6f019ddcfa76ecd615b100e387d7419f11db5e4463cfc4e5a7/039_36-2.jpg" data-mid="172086217" border="0" src="https://freight.cargo.site/w/984/i/5600905f01b14c6f019ddcfa76ecd615b100e387d7419f11db5e4463cfc4e5a7/039_36-2.jpg" />