Felice Grodin lives and works in Miami Beach, Florida. Her practice focuses on the narrative integration of art. Many of her stories are in the form of possible futures that can be experienced in the present. She incorporates the use of digital tools including augmented reality, digital modeling + fabrication and video. Between 2017-19 she was featured in the first solo exhibition of large-scale augmented reality artworks called Felice Grodin: Invasive Species at the Pérez Art Museum Miami (PAMM). She has since teamed up with PAMM for additional AR projects in collaboration with: UNTITLED Art Fair, The Deering Estate and Miami International Airport. Felice is also a founding member of the collaborative A.S.T. (Alliance of the Southern Triangle), which explores artistic and cultural possibilities reimagined in an era of climate change and political volatility. In addition, in 2015 she was awarded a WaveMaker Grant from the Cannonball Arts Organization. Felice obtained a Bachelor of Architecture from Tulane University, where she received the Thomas J. Lupo Award for Metropolitan Studies, and a Master of Architecture with Distinction from Harvard University where she received the Faculty Design Award.
Anna L. Tsing, The Mushroom at the End of the World, 2015↩
Le Guin positions the container, rather than the spear, as the first human tool, following the writings of Elizabeth Fisher. Ursula K. Le Guin, The Carrier Bag Theory of Fiction, 1986↩
In “On Non-Scalability,” Tsing establishes that a primary critique of scalable frameworks is of their inability to maintain diversity. Taking that intrinsic flaw into account, we aim to not promote the amplification of a singular feminist framework. Anna L. Tsing, “On Non-Scalability,” 2012↩
In an interview with Jorge Cotte, Wendy Hui Kyong Chun states, “Every form of communication is based on a fundamental leakiness.” These leaks can be seen as moments of possibility. Wendy Chun, “Reimagining Networks,” The New Inquiry, 2020↩
Anna L. Tsing, The Mushroom at the End of the World, 2015; Anna L. Tsing, Roxana Fabius, Patricia M. Hernandez, Mindy Seu, “Big histories are always best told through insistent, if humble, details,” The Scalability Project, A.I.R. Gallery, 2020↩
In Glitch Feminism, Legacy Russell sees the glitch as a catalyst rather than an error, a “correction to the machine.” Legacy Russell, “Digital Dualism And The Glitch Feminism Manifesto,” Cyborgology, 2012↩
Here we are drawing from Judy Wajcman’s definition of interpretive flexibility. Wajcman describes technology’s malleable character, emphasizing that there is nothing inevitable about the way technologies evolve. Users have the power to radically alter technologies’ meanings and deployment. Judy Wajcman, TechnoFeminism p.37↩