Afterman
Afterman envisions a future herbarium in 2222, showcasing plants and fungi with animalistic traits, achieved through the progression of CRISPR technology. This concept foresees a world where gene editing transcends the boundaries of biological kingdoms, integrating and altering the very essence of life forms.
By setting Afterman centuries ahead, it acknowledges CRISPR’s initial developmental phases, projecting its maturity and universal application over the coming centuries. This futuristic perspective not only highlights the potential of gene editing to revolutionize biodiversity but also underscores a timeline for its evolution from nascent technology to a fundamental tool in shaping the natural world.
Category
Storytelling | Experiences | Interactives
Year
2022
Materials
3D printed PLA, glassware, stainless steel hardware, PTFE, aluminium hardware, electronics, readymade,
Exhibitions
2022 || NTUGDAP 2022
2022 || ArtEncounters 8th edition, Singapore
Photo credits to Colin Wan
Methodology
Afterman reevaluates the common critique of CRISPR as humanity’s overreach in ‘playing god,’ positioning it instead as a pivotal force for innovation in enhancing biodiversity. Through Afterman, we encouraged visitors to engage hands-on by creating sculptures with certain physical criteria—height, symmetry, or roundness. To understand how participants perceived this challenge, we plan to employ a quantitative methodology for a comprehensive analysis.
Additionally, to gauge the artistic impact, we will offer reflective observations from the exhibition, including our personal responses and the notable interactions observed. This dual approach aims to capture both the objective and subjective dimensions of the project’s reception, providing a nuanced understanding of its influence and implications.
Exhibition at Orchard Mandarin street level
Artificial life
In the Afterman exhibit, each specimen exhibits slow, stable movements, mimicking the rhythm of breathing to suggest a semblance of life, despite being powered by motors. These mechanical beings are designed to interact with passersby, with each type of specimen responding distinctively to human presence. One appears to inhale and exhale, another scans its surroundings and tracks the movements of people, while a third gently sways its body. These varied movements are carefully orchestrated to evoke the illusion that these specimens are not just animate but possess a sense of curiosity. By moving at a deliberate, slow pace, they project an aura of being harmless, encouraging onlookers to engage more closely without apprehension. This interactive approach is intended to provoke thought, challenging perceptions of what it means to be ‘alive’ and fostering a sense of wonder and engagement among the audience.
Sculptures created by the public