I'm sorry. The system has failed you. (Panopticon 2026)

Single-channel vertical video (color, sound; 3:45 loop), 3D-printed polylactic acid, red LED illumination, steel mount, electrical wiring, archival broadcast excerpts: ABC, CBS, CNN, FOX, NBC

Vision originated in prehistoric organisms as simple light-sensing patches, evolving over half a billion years into the complex human eye as a vital tool for predatory awareness, navigation, and survival. Today, vision continues to evolve into an automated, algorithmic network of surveillance cameras. What began as an evolutionary adaptation for survival is now an apparatus that automates municipal tracking and enables systemic abuse.

Grounded in the recorded public apology of Flock CEO Garrett Langley, the installation interrogates algorithmic policing, automated license plate tracking networks, and civic accountability. By slowing and elongating Langley's voice into a persistent choral drone, the soundscape converts corporate damage control into an ominous institutional liturgy. Distorted records of systemic abuse flash across a screen encircled by dozens of cameras arranged in a radial panopticon. Trailing straight down from the bottom of the monitor, exposed black cables provide an industrial root system and exposed spine, giving the floating display a mechanical, parasitic weight. Submerged entirely in monochrome red light, the chamber reflects the gaze back outward, implicating the spectator within the machinery of municipal surveillance.

Broadcast material sourced from public reporting by ABC, CBS, CNN, FOX, and NBC.

Artist Note:

“Originally conceived for IMMINENT MODE: EVOLUTION in collaboration with a fashion designer, this project was envisioned to compliment a wearable surveillance apparatus. The initial concept integrated 3D-printed Flock camera housings directly into a garment, anchored by a headpiece that converted the model's eyes into camera lenses. The look would have included a clutch purse designed as a camera that, when smashed, would release smoke and the audio of corporate damage control. Video projections were intended to play across the surface of the clothing while integrated cameras fed live surveillance of gallery attendees back into the display.

When my collaborating designer could no longer participate, the project was forced to adapt (mirroring the core theme of the exhibition itself). Stripped of the garment, the installation distills that trajectory down to its raw mechanical core, leaving the viewer alone in the dark facing the predatory gaze of the apparatus.”