2019 - 3D Animation and digital prints

DRHA 2022 - Kingston University
Stanely Picker Gallery - September 4 to 10, 2022
London, UK

B-Seite Biennial Festival
Media Art Festival - October 23 to 30, 2021
Mannheim, Germany


Bio-issues, ecosphere, techno-biological evolution, biological/sensorial/cognitive mutations, alterity, food hacking, production of subjectivity, multi-species ontologies.

“Bichicu-Chow” is an independent 3D computer animation short. It is informed by the production of denatured or restructured biological organisms and ecosystems, and attempts to reconcile notions of alterity by making visible the vulnerable encounter between variable living forms --be they organic or synthetic.

The 3D 'specimen' enacts corporeality drawing from two of my ongoing works that use 'food' to explore narratives and counter-narratives of dominance, subjugation, and transformation - as defined by different ideologies of a 'better-life' and the rules that help them function.

First, the imagined 3D creature is inspired by “Incu-Bichicuchitu”, my series of DIY bio forms of vegetables and fruits that grow mold in an incubator. These bio forms enable me to study natural processes that create trans-species assemblages, suggesting mutual dependence between organisms and species.

Second, the patterned cloth covering the 3D creature is taken from “@Comestiblemealplan”, my archive of Glitch images of industrial foodstuffs. I re-codified data driving the digital images by inserting texts from literary sources that highlight the role of women in the discourse about food production, distribution, and consumption; such as “Paradise Lost” (Milton, 1667) and “The Edible Woman” (Atwood, 1969).

"Bichicu-Chow" (above) - still images
"Bichicu-Chow" (below) - video excerpt of the 3D animation shown in an endless loop.
Credits: Pat Badani (Concept, Artistic Direction, Visuals). Muyeol Choe (Assistant 3D animator).
Bichicu-Chow / All media and texts © Pat Badani, 2019.