valerie van zuijlen

 

Graphic Designer, Digital Artist, and Filmmaker from Amsterdam, the Netherlands.
Currently located in Manhattan, New York.

With a background in graphic design, graduating summa cum laude (BA 2016, ArtEZ University of the Arts, NL), she develops a world in combining different genres of expertise within her own practice. As for studying computer science & electrical engineering (SS 2017, Stanford University, US), videogame studies (SS 2018 University of Hong Kong) and recently graduated her masters within the field of film production (MA Shadow Channel, Sandberg Institute, NL, 2018/19) ever as at the same time she has been stating to render her practice within the field of film theory as a Lew and Edie Wasserman Scholar, graduating summa cum laude and receiving the departmental citizenship award for her class of 2020 (MA Cinema Studies, Tisch, NY, 2018/20). 

During her career path she has been nominated for several awards and proudly received the Young Master Award (Media Art Festival, NL, 2016) and most recently the Crowe-Foederer Talent Award for emerging makers in the creative and technological business. Even as her work has been presented and screened globally; Future Archeology (GDASS 2016, Mexico-City), the Dutch Design Week (Materializing the internet, NL, 2017), Hong Kong Film Festival (PUFF, 2018), Glow Light Festival (Moonlight, 2019). 

Her projects are mainly based on her daily immersive and personal relationship with technology, which can be seen as an exploration of the digital wonderland she encounters by scrolling deeper and deeper into this so-called digital ‘rabbit hole’. 

As for today, her main vocation lies within the ability to communicate the ontology between humans, technology and the non-humans. Through creating a visually interactive way of storytelling she pursues to bring the peculiar unseen and perhaps unnoticed to light. Even as the potential of being present at multiple locations at once, in which different time zones, the past, the future and the now, the virtual and the physical, become an apparent feature within her visual storytelling and ontologies. 

 
 

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