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hymNext: The Living Sculptures Project  An installation that comments on modern sexuality, confronts the traditional roles of the female body and presents a collection of synthesized hymens. The unisex hymens are sculpted with living materials and the artists own body cells into a variety of designs for application on the human body. Web Sites:   Selected Works Installation hymNext Designer Hymen Series (2004-2005)
The HOKUM Show (2005) Carnivorous Contraptions / Living Room (2002) The Workhorse Zoo (co-creator, 2002) Edible Sculptures for Animal Enrichment at SF Zoo (2001) Performance The Dissecting Eye (2002)
The Workhorse Zoo Performance Days (2002) Accomplishments Julia Reodica is an artist who uses science to expand public understanding of the medical and scientific arts. Incorporating emerging biotechnology into her art practice, a technique developed from her own research, past work at the Exploratorium Museum of San Francisco and from international art and science centers, her work is at the forefront of the field.
Education 2005 MFA Electronic Arts, Rensselaer Polytechnic Institute, Troy, New York
1995 BA Communications Advertising, California State University, Fullerton, California Web Site News January, February, March 2008
Julia Reodica’s hymNext Hymen
Project debuted in sk-interfaces
an exhibition devoted to bio art, shown at
Liverpool’s Foundation
for Art and Creative Technology, in
February and March. Reodica’s ‘designer
hymens’ are
sculpted from the artist’s own vaginal cells; they are
designed
to symbolically re-virginize repeatedly. The hymNext Project questions
the traditional value of virginity in certain cultures at a time when
the symbolic tissue can be easily re-created and implanted. July 2006 Julia Reodica presented a workshop at Eyebeam
in New York in July. The lecture and discussion centered on recent advances in
human tissue research and engineering, and the possibilities of growing whole
and partial organ replacements. Interview What is your greatest fear when facing a project? Working with living materials can be unpredictable. My fears are that they might die too quickly, get over-run with illness, or refuse to thrive. The organisms natural defenses, exhibit design flaws, and Murphys Law will all affect the work at some point. The project will take a life of its own in the studio and in exhibition, so I must be adaptable to all changes. |
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