100 Homes


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Document Type


Publication Date

August 2021


Danil Sonjaya


Scale- approximately 13’ high by 6’ in Diameter

Each frame- approximately 12” by 12” square

Materials- wood frames wrapped in Indonesian Batik fabric, polypropylene, and cellophane (Hung on fishing line, supported by a 6’ diameter ring made of wood.)

Other components- Ceiling motor, 2 rpm’s and a Neon LED light rope 33’ long coiled within the center of the piece.

Background- The piece deals with concepts of home and the memories that come with it. Conveyed through architecture, light, and shadow, 100 Homes deals with the “ever changing memory.” With every recollection of specific memories it is scientifically proven that the memory itself becomes slightly altered. Thus, one can never truly experience the same memory ever again.

Relating to this idea, my construction is ever changing, “you can pick a piece, look at it and only it, and find that it will look ever so slightly different then the previous revolution.” Serving as a chandelier, the connotations that the form itself brings lends to the inability to reach a place that now resides in a distant and fading memory.

Artist Statement-

What is home—an architectural space filled with loved ones? Or something less concrete, an ever changing, evolving and metaphysical space that rests in a memory? Looking back at my childhood, I remember a nomadic lifestyle. With regular trips from country to country, my experience transcended usual ideas of travel between separated parents. My recent work explores the duality of my own iden;ty, being an Indonesian-Puerto Rican living in America. There is a clear reference to this identity crisis within the suspension of architectural frames, each representing relics of past homes.

Focusing on the juxtaposition of a material world and bodiless memories, I seek to bring physicality to the past. My work bridges or connects memory to physical objects, infusing the three-dimensional with layered memories conveyed through formal construc;on, including but not limited to form, texture, and light. Working with a variety of materials including wood, cellophane, polypropylene, and Batik fabric has brought me to the roots of my childhood. As a multitude of architectural scrims dangle above, the memory of a once safe and loving home begins to morph and evolve into what I call “altered fixations.” The use of motion, light and shadow emulates the act of remembering and then remembering again. Once the original experience is conjured through memory, our perception of that event has already been altered. As the chandelier rotates, the form projects new architectural shadows onto surrounding surfaces. The viewer is invited to par;cipate in the narra;ve and construct their own rela;onship with architecture, memory, and home.


Danil Sonjaya