Mapping Contemporary Mayan Stories through Augmented Reality
Project Proposal
This project will focus on mapping Contemporary Mayan lives in Washington State. Through the use of augmented reality, audio recordings, 3D scanning, and animation, this project will be a means of re-mapping two sites in Seattle and Wenatchee. I propose to collaborate with Rigoberta Menchu in the process of collecting stories and visualizing a textile design that can pull the landscape and stories together.
Background
When traveling or exploring unfamiliar territories, our culture relies on satellite maps with streets and venues laid out. Digital technology has allowed us to view these maps, and provides us with the navigation instructions. Global Positioning Systems (GPS) are becoming the predominant device for navigating through spaces.
Anthropologist Lynn Stevens and scholar Mishuana Goeman present alternative forms of mapping and navigating through spaces. Stevens’ fieldwork in Oaxaca and Oregon has led her to theorize meshwork systems imposed on the US and Mexico landscapes. These meshworks provide passages for indigenous migrants to relocate into communities in California, Oregon, and Washington. These same meshworks are also used for the passage of information pertaining to jobs, legal documents, medical care and other services. Goeman gives examples in her book, Mark My Words: Native Women Mapping Our Nations, of women in the twentieth century using literature to remap colonized landscapes.
The writings and theories of Stevens, Goeman and others lead me to propose a project that will allow an exploration through a space using indigenous technology and forms of mapping. My heritage and research is embedded in the atrocities inflicted on Mayan communities during the 36-year genocide. Rigoberta Menchu, has been a significant figure in telling the shared stories of violence and displacement in her community. Antonella Fabri’s essay, “Space and Identity in Testimonies of Displacement”, describes forced relocation as an eraser of ethnic identity, which becomes part of the strategy of ethnic genocide. This project would counteract the strategy of erasing Mayan lives by re-mapping Mayan stories onto landscapes in the Northwest.
Experience
My art practice has been an exploration of the power dynamics of indigenous cultures in relation to national identity and transnationalism. Informed by the Guatemalan Civil War (1960-90s), my works functions as points of reference within a fragmented fiber map, guiding viewers through the narratives of atrocities and displacement imposed on Mayan communities.
I am enthused to propose this project due to my recent involvement in three projects. Components of these projects which will be discussed include storytelling, 3D animation for augmented reality, and the construction of fragmented maps of atrocity.
In Summer of 2014, I completed and launched the Rhizome of Ixil videogame at the Champaign Urbana Independent Media Center. Rhizome of Ixil is a two player interactive 3d video game. It is designed to reflect the power dynamics of the former dictator of Guatemala, Efrain Rios Montt’s genocide trial. Rios Montt played a key role enforcing the scorched earth policy in the early 1980’s. In the spring of 2013, he was found guilty of crimes of genocide against the Ixil community. Since then the case has been overturned on appeal and the prosecution is attempting to re-convict. Building this game challenged me to investigate storytelling within games, as well as the semiotics of gaming systems.
Prior to developing Rhizome of Ixil, I had the opportunity to learn how to create and process 3d files for augmented reality. Digitally Archiving Ancient Futures is a project in the process of being developed by Vicente Diaz, Anthropologist in American Indian Studies at the University of Illinois. The intent of this project is to help advance cultural survival for small scale indigenous societies and create a virtual voyage. My participation in this project encompassed 3d Scanning a model outrigger canoe, reducing the poly count, generating high resolution UV maps, animating, and preparing the files to be transferred into Unity software.
Projecting fragmented systems has been the focus of my current research and practice. Understanding my position within systems and the fact that I can not fully visualize the entire systems has lead me to construct the parts of the systems that I can access. These projections are intended to create an essence of one position within system of violence. I visualize these fragments through my own experience, research on strategies of dehumanization that create spaces of violence, as well as the psychology of sports fans in relation to bystanders in genocides.
These projects have led me to consider the experience and position of viewers with screen based interfaces. Videogames have the agency to guide viewers through stories, create empathy, provide challenging quests, and create social connections. I see digital interfaces moving away from screen-based outputs into augmented and holographic technology. With this in mind, I think it is important to include forms of indigenous perceptions of space and time within this technology.
Project Description
Imagine strolling through downtown Wenatchee listening to a story of an immigrant Mayan farmer from the department of Huehuetenango. You have been navigating the downtown area according to the words of the storyteller, as well as following augmented fibers on a digital device. You approach a street intersection where fibers paths intersect. You have the option to crisscross across the townscape according to augmented fiber paths, or you can continue along the strand that you started on. You decide to continue along the purple fiber you have been following since you entered this reality and were greeted by the kind words of Rigoberta Menchu. As you are walking the voice you have been listening to suddenly softens and you use your digital device to look down for a manhole. Near some steps you spot the manhole with your device and additional augmented scene fades in. In this scene you see a small fire burning. Immediately, you are able to locate the semiotics of this augmented image based on the narrative you have been listening to all along.
Project Proposal
This project will focus on mapping Contemporary Mayan lives in Washington State. Through the use of augmented reality, audio recordings, 3D scanning, and animation, this project will be a means of re-mapping two sites in Seattle and Wenatchee. I propose to collaborate with Rigoberta Menchu in the process of collecting stories and visualizing a textile design that can pull the landscape and stories together.
Background
When traveling or exploring unfamiliar territories, our culture relies on satellite maps with streets and venues laid out. Digital technology has allowed us to view these maps, and provides us with the navigation instructions. Global Positioning Systems (GPS) are becoming the predominant device for navigating through spaces.
Anthropologist Lynn Stevens and scholar Mishuana Goeman present alternative forms of mapping and navigating through spaces. Stevens’ fieldwork in Oaxaca and Oregon has led her to theorize meshwork systems imposed on the US and Mexico landscapes. These meshworks provide passages for indigenous migrants to relocate into communities in California, Oregon, and Washington. These same meshworks are also used for the passage of information pertaining to jobs, legal documents, medical care and other services. Goeman gives examples in her book, Mark My Words: Native Women Mapping Our Nations, of women in the twentieth century using literature to remap colonized landscapes.
The writings and theories of Stevens, Goeman and others lead me to propose a project that will allow an exploration through a space using indigenous technology and forms of mapping. My heritage and research is embedded in the atrocities inflicted on Mayan communities during the 36-year genocide. Rigoberta Menchu, has been a significant figure in telling the shared stories of violence and displacement in her community. Antonella Fabri’s essay, “Space and Identity in Testimonies of Displacement”, describes forced relocation as an eraser of ethnic identity, which becomes part of the strategy of ethnic genocide. This project would counteract the strategy of erasing Mayan lives by re-mapping Mayan stories onto landscapes in the Northwest.
Experience
My art practice has been an exploration of the power dynamics of indigenous cultures in relation to national identity and transnationalism. Informed by the Guatemalan Civil War (1960-90s), my works functions as points of reference within a fragmented fiber map, guiding viewers through the narratives of atrocities and displacement imposed on Mayan communities.
I am enthused to propose this project due to my recent involvement in three projects. Components of these projects which will be discussed include storytelling, 3D animation for augmented reality, and the construction of fragmented maps of atrocity.
In Summer of 2014, I completed and launched the Rhizome of Ixil videogame at the Champaign Urbana Independent Media Center. Rhizome of Ixil is a two player interactive 3d video game. It is designed to reflect the power dynamics of the former dictator of Guatemala, Efrain Rios Montt’s genocide trial. Rios Montt played a key role enforcing the scorched earth policy in the early 1980’s. In the spring of 2013, he was found guilty of crimes of genocide against the Ixil community. Since then the case has been overturned on appeal and the prosecution is attempting to re-convict. Building this game challenged me to investigate storytelling within games, as well as the semiotics of gaming systems.
Prior to developing Rhizome of Ixil, I had the opportunity to learn how to create and process 3d files for augmented reality. Digitally Archiving Ancient Futures is a project in the process of being developed by Vicente Diaz, Anthropologist in American Indian Studies at the University of Illinois. The intent of this project is to help advance cultural survival for small scale indigenous societies and create a virtual voyage. My participation in this project encompassed 3d Scanning a model outrigger canoe, reducing the poly count, generating high resolution UV maps, animating, and preparing the files to be transferred into Unity software.
Projecting fragmented systems has been the focus of my current research and practice. Understanding my position within systems and the fact that I can not fully visualize the entire systems has lead me to construct the parts of the systems that I can access. These projections are intended to create an essence of one position within system of violence. I visualize these fragments through my own experience, research on strategies of dehumanization that create spaces of violence, as well as the psychology of sports fans in relation to bystanders in genocides.
These projects have led me to consider the experience and position of viewers with screen based interfaces. Videogames have the agency to guide viewers through stories, create empathy, provide challenging quests, and create social connections. I see digital interfaces moving away from screen-based outputs into augmented and holographic technology. With this in mind, I think it is important to include forms of indigenous perceptions of space and time within this technology.
Project Description
Imagine strolling through downtown Wenatchee listening to a story of an immigrant Mayan farmer from the department of Huehuetenango. You have been navigating the downtown area according to the words of the storyteller, as well as following augmented fibers on a digital device. You approach a street intersection where fibers paths intersect. You have the option to crisscross across the townscape according to augmented fiber paths, or you can continue along the strand that you started on. You decide to continue along the purple fiber you have been following since you entered this reality and were greeted by the kind words of Rigoberta Menchu. As you are walking the voice you have been listening to suddenly softens and you use your digital device to look down for a manhole. Near some steps you spot the manhole with your device and additional augmented scene fades in. In this scene you see a small fire burning. Immediately, you are able to locate the semiotics of this augmented image based on the narrative you have been listening to all along.
Fiber Map
I propose to use an OS and Android application to view the augmented reality. Smartphones are readily available, and the applications could be easily accessed through a free download. In order to activate an augmented pop up, there needs to be an image or object that can be scanned. Part of the intent of this project is not to create new physical markers to re-imagine these sites, but rather utilize the existing landscapes. I plan to use the manholes in both sites as a means to activate the augmented pop ups. In addition to the manholes I plan to use GPS technology as a means to activate the audio recordings.
I propose to create a story project through the means of audio recordings and augmented scenes. This project would map out a Seattle Neighborhood and downtown Wenatchee. I propose these two sites as a mean to access two different populations. According to the US Census Bureau one third of the population in Wenatchee identifies with Hispanic or Latino heritage. A project of this scope has to be sensitive to the community it is directed towards, for this reason I have chosen Wenatchee due to friendships I have there The stories of the Mayan are composed of specific individuals, places, and events. However, their stories have underlying parallels with other immigrants’ experiences. Seattle is a port city comprised of immigrants spanning the globe. I imagine these stories would be an echo of immigration.
Rigoberta Menchu’s role in this project would be as collaborator and ambassador to set the stage for the stories. Through this collaboration we will identify individuals and stories that would address the landscape of the sites. From there I would collect audio recordings. Menchu and I would also determine a textile that is can accurately be used to pull the stories and landscape together.
I propose to create a story project through the means of audio recordings and augmented scenes. This project would map out a Seattle Neighborhood and downtown Wenatchee. I propose these two sites as a mean to access two different populations. According to the US Census Bureau one third of the population in Wenatchee identifies with Hispanic or Latino heritage. A project of this scope has to be sensitive to the community it is directed towards, for this reason I have chosen Wenatchee due to friendships I have there The stories of the Mayan are composed of specific individuals, places, and events. However, their stories have underlying parallels with other immigrants’ experiences. Seattle is a port city comprised of immigrants spanning the globe. I imagine these stories would be an echo of immigration.
Rigoberta Menchu’s role in this project would be as collaborator and ambassador to set the stage for the stories. Through this collaboration we will identify individuals and stories that would address the landscape of the sites. From there I would collect audio recordings. Menchu and I would also determine a textile that is can accurately be used to pull the stories and landscape together.
Augmented pop up activated by manhole
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Sketch of augmented fibers crisscrossing through Wenatchee
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I propose to use an OS and Android application to view the augmented reality. Smartphones are readily available, and the applications could be easily accessed through a free download. In order to activate an augmented pop up, there needs to be an image or object that can be scanned. Part of the intent of this project is not to create new physical markers to re-imagine these sites, but rather utilize the existing landscapes. I plan to use the manholes in both sites as a means to activate the augmented pop ups. In addition to the manholes I plan to use GPS technology as a means to activate the audio recordings.
Timeline
Budget
Project Partners
Rigoberta Menchu
Rigoberta Menchu is a significant Mayan woman who has been central to creating awareness of the violence towards the indigenous communities in Guatemala. In 1992 she received the Nobel Peace Prize for her activism and role in lobbying for the figure in relation to the atrocities imposed on the Maya in Guatemala.
Barbara Mones
In addition, I would be extremely interested in working with Professor Barbara Mones, whose expertise in digital animation and stories would be a huge asset to this project. Mones could contribute to the development of the pop up augmented scenes technically. Her knowledge as a digital storyteller would be tremendously beneficial as well.
HITLab at the University of Washington
The HITLab could be a potential collaboration group in developing the augmented pop ups. The HITLab describes themselves as a multi disciplinary research environment of about 120 students, faculty and visiting scholars. Individuals working at the lab come from a variety of disciplines and cultures, which results in a very unique ecosystem within the University.
Rigoberta Menchu
Rigoberta Menchu is a significant Mayan woman who has been central to creating awareness of the violence towards the indigenous communities in Guatemala. In 1992 she received the Nobel Peace Prize for her activism and role in lobbying for the figure in relation to the atrocities imposed on the Maya in Guatemala.
Barbara Mones
In addition, I would be extremely interested in working with Professor Barbara Mones, whose expertise in digital animation and stories would be a huge asset to this project. Mones could contribute to the development of the pop up augmented scenes technically. Her knowledge as a digital storyteller would be tremendously beneficial as well.
HITLab at the University of Washington
The HITLab could be a potential collaboration group in developing the augmented pop ups. The HITLab describes themselves as a multi disciplinary research environment of about 120 students, faculty and visiting scholars. Individuals working at the lab come from a variety of disciplines and cultures, which results in a very unique ecosystem within the University.
Narrative Biography
My current research and art practice at the University of Illinois at Urbana-Champaign has facilitated my decision to apply to a PhD program with emphasis on digital art. Some topics that I have learned about while in this discourse are contemporary indigenous theory within the digital humanities, issues of transnationalism, and technical skills. I believe that my interdisciplinary studies have given me a diversity of perspectives on critical theory in relation to contemporary art.
In the mid-80’s I was born in the department of Quiche, Guatemala. At the age of a year and a half I was adopted from an orphanage in Guatemala City. I grew up with a large family in Spokane, Washington. In my early teens I had the opportunity to volunteer and work with communities in Nicaragua, Belize, Peru and Borneo. I worked on the construction sites of schools and community centers with locals and other volunteers. These experiences led me to reflect on my overall worldview as well as my social and economic position. The strength of the community bond I sensed was remarkable in some of these places that were struggling to sustain the basic necessities for life.
In 2008 I earned a Bachelors of Fine Arts Degree from Eastern Washington University. It was in a sculpture course where I realized art to be a tool for researching the contemporary history of Guatemala and visualizing my perceptions of the past. I began utilizing the metaphors embedded in game design to illustrate the dynamics of the atrocities imposed on the Mayans living in the highlands.
Following graduation, I continued my research on the politics of genocide in Guatemala and other countries. In addition, I worked as a toddler/preschool teacher for four years budgeting to relocate to Guatemala for half a year. I felt it was essential to my art practice and visual research to live in Guatemala and experience the dynamics of their culture. While living in Peten, I had the opportunity to teach art classes in a refugee retirement home with Mayan elders. These individuals taught me so much, not through language, but through their illustrations and mannerisms. Following my return, I implemented materials, forms from the landscape, and stories into my art practice.
Recently, my research of Contemporary Mayan communities was further expanded by my participation with the Champaign Urbana Immigration Forum. I was able to learn about the local Mayan communities from Huehuetenango that had immigrated to central Illinois by means of the Sanctuary Movement. I have been awarded this spring a travel grant from the University of Illinois to travel to Guatemala City to visit The Guatemalan Forensics Anthropology Foundation to expand my research. I am looking forward to continuing my art practice and research in Guatemala and the Northwest through the means of using 3D Mapping technology to archive and sustain Mayan identity.
My current research and art practice at the University of Illinois at Urbana-Champaign has facilitated my decision to apply to a PhD program with emphasis on digital art. Some topics that I have learned about while in this discourse are contemporary indigenous theory within the digital humanities, issues of transnationalism, and technical skills. I believe that my interdisciplinary studies have given me a diversity of perspectives on critical theory in relation to contemporary art.
In the mid-80’s I was born in the department of Quiche, Guatemala. At the age of a year and a half I was adopted from an orphanage in Guatemala City. I grew up with a large family in Spokane, Washington. In my early teens I had the opportunity to volunteer and work with communities in Nicaragua, Belize, Peru and Borneo. I worked on the construction sites of schools and community centers with locals and other volunteers. These experiences led me to reflect on my overall worldview as well as my social and economic position. The strength of the community bond I sensed was remarkable in some of these places that were struggling to sustain the basic necessities for life.
In 2008 I earned a Bachelors of Fine Arts Degree from Eastern Washington University. It was in a sculpture course where I realized art to be a tool for researching the contemporary history of Guatemala and visualizing my perceptions of the past. I began utilizing the metaphors embedded in game design to illustrate the dynamics of the atrocities imposed on the Mayans living in the highlands.
Following graduation, I continued my research on the politics of genocide in Guatemala and other countries. In addition, I worked as a toddler/preschool teacher for four years budgeting to relocate to Guatemala for half a year. I felt it was essential to my art practice and visual research to live in Guatemala and experience the dynamics of their culture. While living in Peten, I had the opportunity to teach art classes in a refugee retirement home with Mayan elders. These individuals taught me so much, not through language, but through their illustrations and mannerisms. Following my return, I implemented materials, forms from the landscape, and stories into my art practice.
Recently, my research of Contemporary Mayan communities was further expanded by my participation with the Champaign Urbana Immigration Forum. I was able to learn about the local Mayan communities from Huehuetenango that had immigrated to central Illinois by means of the Sanctuary Movement. I have been awarded this spring a travel grant from the University of Illinois to travel to Guatemala City to visit The Guatemalan Forensics Anthropology Foundation to expand my research. I am looking forward to continuing my art practice and research in Guatemala and the Northwest through the means of using 3D Mapping technology to archive and sustain Mayan identity.
CURRICULUM VITAE
EDUCATION
2015 MFA Sculpture and New Media University of Illinois at Urbana Champaign, IL.
2008 BFA with honors, Eastern Washington University, Cheney, WA,.
SOLO/TWO PERSONS EXHIBITIONS
2014 Deadweight, Figure One Gallery, Champaign, IL.
Rhizome of Ixil Video Game Launch, Champaign Urbana Independent Media Center, IL.
2012 On Disturbed Ground, Saranac Art Projects, Spokane, WA
2011 Parfait, Saranac Art Projects, Spokane, WA
2010 Zero Sum, Second Space Gallery, Spokane, WA
2008 Art at the Plaza, Spokane Transit Plaza, Spokane, WA
GROUP EXHIBITIONS
2015 MFA Exhibition, Krannert Museum, University of Illinois of Urbana Champaign, IL
2014 Frame and Frequency, South to South International Video Art Exchange Program, Gallery 135, Sumter, SC
5th Annual Feminist Film Festival, University of Illinois Urbana Champaign, IL
Parsing Desire, Ugly Sister Gallery, Chicago, IL
UIUC MFA Exhibition, University of Illinois Springfield, Springfield, IL
2013 Ironic Objects, Red Line Gallery, Denver, CO
Artificial Turf UIUC MFA Exhibition, Peanut Gallery, Chicago, IL
Post-Conceptual GLITTER A Mastery of Fine Arts Exhibition, Lawton Gallery, University of Wisconsin, Green Bay, WI
2011 Territory: Generational Triptychs, Northwest Museum of Arts and Culture, Spokane, WA
Terrain 2011, Juried Show, Spokane, WA
Saranac Art Projects, Spokane Falls Community College, Spokane WA,
2010 Terrain 2010, Juried Show, Spokane, WA,
Tic Tac Toe in Our Communities, Transcendence Project, Juried Show,Little Red School House, Spokane, WA,
2008 Nine Tongues and No Title, Senior BFA Show, Eastern Washington University, Cheney, WA
Student Research & Creative Works Symposium, Eastern Washington University, Cheney, WA
2007 Grandma’s Gonna Love It, BFA Student Show, Eastern Washington University, Spokane, WA
Einstein’s Elevator, BFA Student Show, Eastern Washington University, Cheney, WA,
INVITED TALKS AND LECTURES
2014 Arts Initiatives from CU Immigration Forum, Champaign Urbana Community Arts Forum 2014, Figure One, Champaign, IL.
Every Memory Counts: Development of Video Game Rhizome of Ixil, La Casa Cultural Latina, University of Illinois,IL
2013 Imagined Alternative Symposium, English Department University of Illinois Urbana Champaign, IL.
2011 Artist Lecture, Whitworth University, Spokane, WA.
Saranac Art Projects Artist Roundtable, Spokane Falls Community College, Spokane, WA.
PRESS
2011 Interesting Sparks: Robert Wrigley and Dani Pavlic’ Collaborate on Art Exhibit. Department of English,
University of Idaho, 2011. Web. 11 Dec. 2011
Bernedette Vielbig, ”Readymade Radio” Live Interview with Dani Pavlic’, KYRS 92.3 FM, July 2011.
2010 Luke Baumgarten, Dani Pavlic - Zero Sum, The Pacific Northwest Inlander, Sep. 14. 2010
Jennifer LaRue, “Shock to the Conscience” The Spokesman Review, 28 Aug. 2010.
Bernedette Vielbig, “Readymade Radio” Live Interview with Dani Pavlic’, KYRS 92.3 FM,Sep. 2010.
PROFESSIONAL MEMBERSHIPS
2014 - Present Champaign Urbana Immigration Forum, Champaign, IL
2012 - Present Unit for Criticism and Interpretive Theory, University of Illinois, Champaign Urbana, IL
2011- 2012 Saranac Art Projects Co-op, Spokane, WA
2010 - 2012 Peace and Justice Action League, Spokane, WA
SERVICES
2015 Digital Storytelling Workshop, Campus YMCA Partnership Conference, Champaign, IL
2014 Saturday Art School, University of Illinois, Champaign Urbana, IL
2013 - Present Art Graduate Student Organization Technology Liaison, University of Illinois,Champaign Urbana, IL
2012 - 2013 Art Graduate Student Organization Student Opportunities Coordinator, University of Illinois, IL
Research Assistant, Digitizing Ancient Futures Project, American Indian Studies, University of Illinois, IL
2011 Art Instructor, Small Group Associated with World Relief, Spokane, WA
Stencils for Education Workshop, The Great Spokane Art Party, Community Building, Spokane, WA
Genocide Workshop, Palisades Christian Academy and Upper Columbia Academy,Spokane, WA
TEACHING EXPERIENCE
2013 - 2015 University of Illinois, School of Art and Design, Instructor of Record
2014 Parkland College for Kids, Digital Art and Sculpture Instructor, Champaign, IL
2013 Parkland College for Kids, Teaching Assistant, Champaign, IL
Garden Hills Elementary, Sculpture Instructor, Social Justice After School Art,Champaign IL
2010 - 2011 Art Instructor Elementary Schools, San Luis, Petén, Guatemala
Dulce Refugio, Art Instructor, San Luis, Petén, Guatemala
2008 Upper Columbia Academy, Drawing Instructor, Spangle, WA
EDUCATION
2015 MFA Sculpture and New Media University of Illinois at Urbana Champaign, IL.
2008 BFA with honors, Eastern Washington University, Cheney, WA,.
SOLO/TWO PERSONS EXHIBITIONS
2014 Deadweight, Figure One Gallery, Champaign, IL.
Rhizome of Ixil Video Game Launch, Champaign Urbana Independent Media Center, IL.
2012 On Disturbed Ground, Saranac Art Projects, Spokane, WA
2011 Parfait, Saranac Art Projects, Spokane, WA
2010 Zero Sum, Second Space Gallery, Spokane, WA
2008 Art at the Plaza, Spokane Transit Plaza, Spokane, WA
GROUP EXHIBITIONS
2015 MFA Exhibition, Krannert Museum, University of Illinois of Urbana Champaign, IL
2014 Frame and Frequency, South to South International Video Art Exchange Program, Gallery 135, Sumter, SC
5th Annual Feminist Film Festival, University of Illinois Urbana Champaign, IL
Parsing Desire, Ugly Sister Gallery, Chicago, IL
UIUC MFA Exhibition, University of Illinois Springfield, Springfield, IL
2013 Ironic Objects, Red Line Gallery, Denver, CO
Artificial Turf UIUC MFA Exhibition, Peanut Gallery, Chicago, IL
Post-Conceptual GLITTER A Mastery of Fine Arts Exhibition, Lawton Gallery, University of Wisconsin, Green Bay, WI
2011 Territory: Generational Triptychs, Northwest Museum of Arts and Culture, Spokane, WA
Terrain 2011, Juried Show, Spokane, WA
Saranac Art Projects, Spokane Falls Community College, Spokane WA,
2010 Terrain 2010, Juried Show, Spokane, WA,
Tic Tac Toe in Our Communities, Transcendence Project, Juried Show,Little Red School House, Spokane, WA,
2008 Nine Tongues and No Title, Senior BFA Show, Eastern Washington University, Cheney, WA
Student Research & Creative Works Symposium, Eastern Washington University, Cheney, WA
2007 Grandma’s Gonna Love It, BFA Student Show, Eastern Washington University, Spokane, WA
Einstein’s Elevator, BFA Student Show, Eastern Washington University, Cheney, WA,
INVITED TALKS AND LECTURES
2014 Arts Initiatives from CU Immigration Forum, Champaign Urbana Community Arts Forum 2014, Figure One, Champaign, IL.
Every Memory Counts: Development of Video Game Rhizome of Ixil, La Casa Cultural Latina, University of Illinois,IL
2013 Imagined Alternative Symposium, English Department University of Illinois Urbana Champaign, IL.
2011 Artist Lecture, Whitworth University, Spokane, WA.
Saranac Art Projects Artist Roundtable, Spokane Falls Community College, Spokane, WA.
PRESS
2011 Interesting Sparks: Robert Wrigley and Dani Pavlic’ Collaborate on Art Exhibit. Department of English,
University of Idaho, 2011. Web. 11 Dec. 2011
Bernedette Vielbig, ”Readymade Radio” Live Interview with Dani Pavlic’, KYRS 92.3 FM, July 2011.
2010 Luke Baumgarten, Dani Pavlic - Zero Sum, The Pacific Northwest Inlander, Sep. 14. 2010
Jennifer LaRue, “Shock to the Conscience” The Spokesman Review, 28 Aug. 2010.
Bernedette Vielbig, “Readymade Radio” Live Interview with Dani Pavlic’, KYRS 92.3 FM,Sep. 2010.
PROFESSIONAL MEMBERSHIPS
2014 - Present Champaign Urbana Immigration Forum, Champaign, IL
2012 - Present Unit for Criticism and Interpretive Theory, University of Illinois, Champaign Urbana, IL
2011- 2012 Saranac Art Projects Co-op, Spokane, WA
2010 - 2012 Peace and Justice Action League, Spokane, WA
SERVICES
2015 Digital Storytelling Workshop, Campus YMCA Partnership Conference, Champaign, IL
2014 Saturday Art School, University of Illinois, Champaign Urbana, IL
2013 - Present Art Graduate Student Organization Technology Liaison, University of Illinois,Champaign Urbana, IL
2012 - 2013 Art Graduate Student Organization Student Opportunities Coordinator, University of Illinois, IL
Research Assistant, Digitizing Ancient Futures Project, American Indian Studies, University of Illinois, IL
2011 Art Instructor, Small Group Associated with World Relief, Spokane, WA
Stencils for Education Workshop, The Great Spokane Art Party, Community Building, Spokane, WA
Genocide Workshop, Palisades Christian Academy and Upper Columbia Academy,Spokane, WA
TEACHING EXPERIENCE
2013 - 2015 University of Illinois, School of Art and Design, Instructor of Record
2014 Parkland College for Kids, Digital Art and Sculpture Instructor, Champaign, IL
2013 Parkland College for Kids, Teaching Assistant, Champaign, IL
Garden Hills Elementary, Sculpture Instructor, Social Justice After School Art,Champaign IL
2010 - 2011 Art Instructor Elementary Schools, San Luis, Petén, Guatemala
Dulce Refugio, Art Instructor, San Luis, Petén, Guatemala
2008 Upper Columbia Academy, Drawing Instructor, Spangle, WA