samseurynck.art Open in urlscan Pro
3.215.100.79  Public Scan

Form analysis
0 forms found in the DOM

Text Content

︎

Sam Seurynck Griffith

︎


︎



FINE ART &


MATERIAL STUDIES







Floating selvedges, circumsolar orbit. Galileo knew something about my dad and
me.

Sept—2023

Prev / Next (1 of 1)

Photography by Andy Kajie
Photography by Andy Kajie
Photography by Andy Kajie
Photography by Andy Kajie
Photography by Andy Kajie

Floating selvedges, circumsolar orbit. Galileo knew something about my dad and
me offers a cultural exploration of strategies for addressing climate change,
centering on domestic implementation of solar energy. Inspired by a personal
exchange between myself and my father, Floating Selvedges interlaces textual
elements and woven connections to construct a layered narrative around familial
relationships on a warming planet.


Featured in: Ecosocialism or Extinction, Swords into Ploughshares Gallery,
1/24 ︎︎︎

︎ installation
︎ solar power
︎ weaving



Rule 110

Aug—2023

Prev / Next (1 of 1)

Photography by Dan Ribar
Photography by Dan Ribar
Photography by Dan Ribar
Photography by Dan Ribar


Rule 110 is a beaded art piece depicting the elementary cellular automation
algorithm of the same name. Cellular automata, the algorithm on which Conway’s
Game of Life is built, is significant for its ability to model a range of
complex behaviors. As defined by Steven Wolfram and Matthew Cook, rule 110 is
unique among cellular automata due to its proven universality and Turing
completeness. Depicted here in beads of jasper and white jade, the rule enters
the third dimension as a weighty fabric, connecting the worlds of scientific
computation and organic elegance.

Featured in:

Best in Fiber Arts Award, University of Michigan Science as Art Competition 2/24

Mending the Net, A Fiber Club* group exhibition, 9/23 ︎︎︎

︎ beading
︎ algorithms
︎ biophilia


Study
Chainmail
Oct—2023

An exploration of chainmail, both as a material and metaphorical study. Mail, in
its time, was valuable, labor intensive and passed on from person to person upon
death on the battlefield. It’s both protection and a great burden. Under its
weight, wearers may be saved from deadly stabs, but still suffer blunt force
trauma, bruised under the protective guise of the metal fabric.

Mail was “the primary defensive armor in Europe for more than one thousand
years” on the continent in which all my ancestors once resided. As Resmaa
Menakem outlines in his book, My Grandmother’s hands, European settlers arrived
on Turtle Island unhealed and disregulated as they “built” their “new world”
from fragments of their old one.

Mail as trauma, the weight of it, the consequences for those who perpetuate it.

In efforts to process this personal history on a corporeal level, I spent three
weeks hand-crafting as large of a piece of mail as I could (in the end, a small
one) from aluminum rings, hung it on the wall, swung at it with an axe and
mended it with un-dyed wool.




Study
Powercord Weavings
Sept—2023

Nunc massa ex, porttitor nec luctus vitae, rhoncus in lorem. Duis egestas eros
et purus hendrerit aliquet. Aenean ultricies quis neque id rhoncus. Aenean et
diam suscipit, feugiat dui viverra, vehicula nunc. Nam placerat porta interdum.
Phasellus consectetur elit non metus convallis pretium. Morbi pulvinar varius
dolor. Suspendisse et nulla nec sapien sagittis blandit. Nulla eu ultrices
ligula. Vestibulum ante ipsum primis in faucibus orci luctus et ultrices posuere
cubilia curae.






©SSS

Fine Art & Material Studies