Casualty Isorithm Series 


Captive Series

The Solace of Captivity (Excerpt)

by Indie Choudhury

The eyes of others our prisons; their thoughts our cages. Virginia Woolf

In Captive II (Sandra the Orangutan), an early drawing within a group of black and white drawings called The Captive Series, 
Yulia Pinkusevich develops a narrative of containment. The hegemonic geometry 
she creates refers to both physical and psychological captivity, and, subsequently
 to space as construction and embodiment.
 Light and dark battle against each other and recede to a shadowy presence, which is both a presence and the lack of one. In a similar way, these drawings give a sense of the artist placing herself within the construction and yet removing herself from it in the same gesture.

The act of mark making becomes a way to lift Pinkusevich out of the very construction she places herself in. This tension corresponds not only within the architectural composition
of the drawing but in its tonal composition.

Pinkusevich uses beeswax and charcoal on paper to add greater depth to the color, giving a translucent luminosity to the black that belies its suggestion of blockage. This black conveys both captivity and immensity, giving it temporal and spatial dimensions. It construes a narrative of
its own in addition to the figure that is captured within it. The eternal gaze of the captive figure animates the charged space, evoking a drama that plays out in certain questions: is it the figure or the viewer who is captive? Are we looking or being looked at? The opaque, amorphous figure stands against a starkly demarcated white line that intersects the receding black space and the picture plane, providing an extra dimension to the dark. In this image, white simultaneously delineates encapsulation and articulation of the space whilst black is used to express a more psychodynamic configuration. The juxtaposition of each presents us with frames within a frame, alluding to the power of the refracted line as a transgressive gesture that disembodies the constructed narratives of space and presence in this image. Captivity for Pinkusevich is a complex and dynamic interrelationship of potential architectures, perspectives and narratives that slowly evolve and dissolve into each other.



Mind Maps

The Mind Map series was created over a one month long experiment. Yulia attempted to learn a daily meditation practice for a duration of 40-60 min each session. Using the (RedGreenBrain) robot to create maps of her mind during these sessions. The brainwave-controlled drawing robot was built by Santhi Elayaperumal and maps your brain activity by moving in certain directions based on the user’s attention and meditation levels, communicated via wireless electroencephalography or EEG.

RedGreenBrain: explained by Santhi Elayaperumal

At the juncture of technology and art we find ourselves looking into a mirror of our mind’s eye. In this work, the artist brings the observer into the work, not as creator or subject, but as the medium itself. The spasmodic motions of pen on paper are the result of one’s brain wave patterns, moved by a sub-conscious neural response. This collision of sensoryinfluences reminds us of the illusion of the conscious agency that we assume in our day‐to‐day living, when indeed our minds have abstract processes beyond our control or understanding. In contrast, the uniqueness of the human experience comes from our ability to focus our thoughts through concentration and meditation. This exhibit provides the observer with an insight into both the difficulty of achieving this state of mind, and the deep reward of doing so.

Santhi Elayaperumal is co-founder and CTO of Moxxly and holds a PhD in Mechanical Engineering from Stanford University. She has researched magnetic resonance imaging (MRI) compatible sensors also medical device design, surgical robotics, haptics, and design methodologies for high technology projects.




Nuclear Suns

This series of charcoal drawings were created during an artist residency at Goldwell Open Air Museum in Death Valley, Nevada. I created nine bomb portraits while working in extreme desert solitude. My studio was a metal clad mining barn that rattled and creaked in the high winds. From this barns you can see the sites, hidden in plain site among the vast silence of the lowest point on earth. These sites are where the US government conducted above ground nuclear bomb tests. . These nine portraits are very slowly rendered in charcoal, each image depicts rapatronic photographs of nuclear explosions.

History of the images: A professor of electrical engineering from MIT named Harold Eugene “Doc” Edgerton invented the rapatronic camera, a device capable of capturing images from the fleeting instant directly following a nuclear explosion. These single-use cameras were able to snap a photo one ten-millionth of a second after detonation from about seven miles away, with an exposure time of as little as ten nanoseconds. At that instant, a typical fireball had already reached about 100 feet in diameter, with temperatures three times hotter than the surface of the sun. Images are declassified property of U.S. Government.

The series of works is titled “Into Singularity I Become One With the Nuclear Sun.” The title came after J. Robert Oppenheimer, witnessed the world’s first nuclear explosion in New Mexico when he quoted a passage from the Bhagavad Gita, the classic Vedic text, “If the radiance of a thousand suns were to burst forth at once in the sky, that would be like the splendor of the Mighty One… I am become Death/Time, the destroyer of worlds.”