“We live in a time of iridescence, of scintillation between the virtual and the real—an iriderealperhaps, where surfaces are no longer concretions to be encountered but rather sites of dazzling encounter.” –Tavi Meraud

VanderSchuit’s recent work uses the surfaces of digital video projections and iridescent materials to explore the body’s ontological relationship to real and virtual spaces. The time-based installations juxtapose the real and the virtual by extending screen space into actual space. The installations project videos onto various objects, surfaces, and walls. Many of the works incorporate sculptural elements, thus melding the phenomena of the real with the digital.

Iridescence is an optical phenomenon described by physicists under the term, “thin film interference”. Iridescence is, thus, the interaction of light waves on a surface that creates the effect of multiple colors occurring simultaneously. Iridescence in the video projections presents an artifice of the real. It exists only as an image; the viewer’s eye angle cannot change the color experience. In Iridescence, Intimacies, visual artist Tavi Meraud describes iridescence as a “site of dazzling encounter” in which “a surface begins to emerge” and “a surface surfaces.”

Maya VanderSchuit received her MFA from University of California, San Diego and her BA from University of San Diego with a double major in Visual Arts and Art History. VanderSchuit has exhibited at Museum of Contemporary Art, San Diego, Birch Aquarium, San Diego Art Institute, La Jolla Playhouse, Aratoi Gallery in New Zealand, Heritage Space in Vietnam, Calit2 Theatre, UCSD’S Visual Arts Gallery, IKO Studios in Los Angeles, and USD’s Visual Arts Gallery. Her work has been awarded the Russell Grant, SURE Grant, AS Grant, and Arts and Humanities Dean’s Travel Grant.


Maya VanderSchuit, pictured in her installation Soft Wave, Electric Soul, 2019.