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    <loc>https://www.cgracechang.com/in-dog-years-im-dead</loc>
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    <lastmod>2019-11-19</lastmod>
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      <image:title>In Dog Years I'm Dead</image:title>
      <image:caption>As part of the Common Shores VR Hackathon 2017, I developed this prototype with a small team. In Dog Years I’m Dead is a VR demo project developed, choreographed, filmed, and edited over the course of 3 days. The only other constraint: that we film it in Bohus Fortress in Kungälv, Sweden. I took the title from a line of Dana Levin’s poem “Urgent Care.” We were each selected based on experience and skillsets. I participated as a “storyteller” and undertook much of the narrative and aesthetic direction. Instead of using a linear storyline, I chose to expand on the driving connection: emotions. I steered this project creatively and chose an abstract approach, looking at underlying patterns and isolation of Post Traumatic Stress Disorder. Storytelling is more than literal depictions, so I chose an abstract, emotional, non-verbal narrative style.</image:caption>
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      <image:title>In Dog Years I'm Dead</image:title>
      <image:caption>As part of the Common Shores VR Hackathon 2017, I developed this prototype with a small team. In Dog Years I’m Dead is a VR demo project developed, choreographed, filmed, and edited over the course of 3 days. The only other constraint: that we film it in Bohus Fortress in Kungälv, Sweden. I took the title from a line of Dana Levin’s poem “Urgent Care.” We were each selected based on experience and skillsets. I participated as a “storyteller” and undertook much of the narrative and aesthetic direction. Instead of using a linear storyline, I chose to expand on the driving connection: emotions. I steered this project creatively and chose an abstract approach, looking at underlying patterns and isolation of Post Traumatic Stress Disorder. Storytelling is more than literal depictions, so I chose an abstract, emotional, non-verbal narrative style.</image:caption>
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      <image:caption>Since 2014, I’ve been crafting the voice(s) of the award-winning Danish documentary adventure game Cosmic Top Secret. Between translation, copywriting, copyediting, and keeping an eye on character development and playability, I helped give the game its English voice. I handled specific press releases and pitches, job listings, tester recruitment, and English-language game testing.</image:caption>
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      <image:title>Work</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5b3775a536099b07c0e84861/1654843387946-V8DYCCNGHB70MTUDHWSN/AVFSPDay03_1.6.1.jpeg</image:loc>
      <image:title>Work</image:title>
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      <image:title>Work</image:title>
      <image:caption>As smoke unfurling (2024) 3-channel video installation, 1:06:00 Inspired by Sino/Chinese and other East Asian traditions around ancestor worship, this work creates a space for remembrance and contemplation. The use of incense by the sea is a particular nod to the Mid-Autumn Festival. As I burn 100 sticks of incense in the video, the viewer watches smoke unfurling, carrying the gesture infinitely upward. The work is rooted in both grief and growth in a fractured timescale. Rest and refuge were also vital themes in the work. The hazy blue of the sky extends into the space and textiles. Each channel—two TV monitors and a large projection—plays the same video from a different point in time. At once, this allows visitors to experience more of the gesture while also making it impossible to fully capture. This video installation was part of a series of works commissioned by curator Anna Jin Hwa Borstam for a solo exhibition in August–September 2024 at Krognoshuset in Lund, Sweden. Cinematographer Tanja Wol Sørensen captured the video in Malmö.</image:caption>
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      <image:title>Work</image:title>
      <image:caption>Imagining Somewheres is an interdisciplinary undertaking, combining visual art, virtual reality, and decolonial theory to explore hope beyond the known and solidarities across difference. This two-fold project – consisting of an abstract VR piece, an installation, and a written thesis – investigates obstruction as a beginning and its role in future-building.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5b3775a536099b07c0e84861/1732023757385-VD5IRS55TCNESDIK60KC/C+Grace+Chang%2C+Krognoshuset%2C+2024+-+16.jpg</image:loc>
      <image:title>Work</image:title>
      <image:caption>Every lost story is a hungry ghost (2024) video (1:06, looped), textile, essay, audio (23:51) This work examines the possibility of grief as a foundation for new life in both tangible and intangible ways. Specifically, I focus on the constant cycles of decay and rebuilding of lives, histories, and ways of seeing that become lost or buried. I wrote and recorded a lyric essay that explores water’s significance to intergenerational loss, migration, and the symbolic gestures of rituals. The audio plays as the video continues on an infinite loop of its own, a nod to the constant cycles dissected in the essay. The video work features the last footage I have of a rotting historical gangway on the Hudson River to a turn of the century steamboat turned restaurant turned wreck. The essay reflects on how, in the absence of direct knowledge, new generations (post-migration) often work without awareness of their predecessors. Whether it’s culturally significant rituals or the long fight for civil rights, those who experience intergenerational loss use these gaps to create something else. Commissioned by curator Anna Jin Hwa Borstam for a solo exhibition in August–October at Krognoshuset in Lund, Sweden. This work was made in response to Krognoshuset’s unique architecture. Audio recorded and edited with support from Inter Arts Center in Malmö, Sweden.</image:caption>
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      <image:title>Work</image:title>
      <image:caption>λεμόνι lemon ليمون citron (2024) audio installation, 55:01 (lemóni lemon lymun citron) This sound-based work was created as part of the EU project PROSPER’s Evia Residency in October 2024. I wanted to explore the connection between food, place, and memory. Though we may lose places in many ways—war, politics, climate change, migration, time—they live on in our stories. During a series of recorded interviews over local produce, participants narrate memories that resurface with each bite, transporting us to places frozen in time. This project aims to map out memories of such places, and how they might be resurrected. How taste and place are connected. How grief and climate change intertwine. How, through all of this, memory becomes an indestructible force.</image:caption>
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    <lastmod>2019-07-16</lastmod>
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