Counter-Environments and the Myth of Progress: A Practice of Participatory Disruption

This thesis explores the potential of archival and participatory practices to illuminate and disrupt societal barriers to genuine human connection, particularly those arising from productivity, routine, and capitalist notions of progress. Rooted in an extensive personal archive—over 70,000 photographs, hundreds of journal entries, and fragmented sensory experiences—my artistic process involves meticulously collecting, rearranging, and interpreting patterns within everyday consumption. Through iterative methods akin to artists such as Wolfgang Tillmans, I juxtapose images, texts, and found materials, embedding personal narratives and subjective insights to uncover deeper connections and overlooked truths. Central to my practice is the critique of contemporary societal norms, inspired by philosophers like Brian O’Connor, who questions the destructive impacts of relentless productivity and advancement. In response, my work intentionally creates counter-environments that encourage idleness, collective play, and reflection. Projects like a large-scale Capture the Flag event at Washington University and communal installations challenge institutional expectations by fostering spaces that prioritize presence and interpersonal engagement over efficiency and output. By employing humor, myth-making, and participatory disruptions, my practice not only highlights societal hindrances to connection but also proposes alternative ways of being together. The result is a transformative dialogue that resonates beyond the immediate experience, persisting through collective memory and storytelling, and ultimately redefining our understanding of communal interaction and resistance.