I'm a graphic designer and artist from Hamburg, Germany/Cairo, Egypt. Currently I'm studying Communication Design at the HAW Hamburg and fine arts at the HFBK Hamburg. I'm a graphic designer and artist from Hamburg, Germany/Cairo, Egypt. Currently I'm studying Communication Design at the HAW Hamburg and fine arts at the HFBK Hamburg.
Call: +49(0)17656980895 / Mail to: info@amyra-radwan.com / Instagram: @amyra_radwan / Call: +49(0)17656980895 / Mail to: info@amyra-radwan.com / Instagram: @amyra_radwan / Call: +49(0)17656980895 / Mail to: info@amyra-radwan.com / Instagram: @amyra_radwan / Call: +49(0)17656980895 / Mail to: info@amyra-radwan.com / Instagram: @amyra_radwan / Call: +49(0)17656980895 / Mail to: info@amyra-radwan.com / Instagram: @amyra_radwan / Call: +49(0)17656980895 / Mail to: info@amyra-radwan.com / Instagram: @amyra_radwan / Call: +49(0)17656980895 / Mail to: info@amyra-radwan.com / Instagram: @amyra_radwan / Call: +49(0)17656980895 / Mail to: info@amyra-radwan.com / Instagram: @amyra_radwan / Call: +49(0)17656980895 / Mail to: info@amyra-radwan.com / Instagram: @amyra_radwan / Call: +49(0)17656980895 / Mail to: info@amyra-radwan.com / Instagram: @amyra_radwan / Call: +49(0)17656980895 / Mail to: info@amyra-radwan.com / Instagram: @amyra_radwan
Amyra Radwan
Virtual reality in a box -
An attempt to build a bridge between the unique view in VR and the two dimensional display on a screen.

Is the third dimension reality or illusion? Why do we try to simulate our perception and what are the concequences? Why are rollercoaster games so popular in VR? "Why does the feeling of throwing up bring up some type of excitment that you don't recieve on a regular day basis? I think it's the twist in the curves, or is it the up in the turn, it is smiling so absolutely wide, it is the feeling of my nerve on the front of the seat. Eyes are open, tears are coming from the thrill of sight, I am moving as fast as the light, laughing for no damn reason and screaming for everything I am. When did feeling sick become equivalent to real? When did neausa become the ex-pill?" (Tarriona Tank Ball - Rollercoaster: Source)

Our sense of balance is what enables us to steer our body through our reality and makes us senstitive for possible physical harm. The sensation of falling and vertigo are fascinating to us, since they stimulate our body to release hormones that create for example an adrenaline rush. VR enables us to experience this without taking a rollercoster ride in RL as our brains make the connection between VR and the sensory memory of what we already sensed before.
A common physiological phenomenon that relates to this connection is the "hypnic jerk" a brief and sudden involuntary contraction of the muscles of the body which occurs when a person is beginning to fall asleep, often causing the person to jump and awaken suddenly for a moment. Physically, hypnic jerks resemble the "jump" experienced by a person when startled, sometimes accompanied by a falling sensation. But while involuntarily falling into a void might be frightning, loosing control on purpose without really getting hurt physically or mentally is amusing for most people.

But how real is the virtual actually? Can we genuinely share our experiences in this space or are we once again merely in a two dimensional simulation which our brain accepts as authentic? Of course we are always only able to see the world from our own gaze. But to me it appears that, in contrary to the believe that VR opens a wide range of new perspectives, the sensation of VR also remains an individual one, which cannot be shared directly with others.
It's remains like the viewangle of ones eye a unique view that can hardly be replicated for others to see and feel. And while digital sharing still mostly happens on devices with screens we lack the ability to emulate the VR-view to share it with others.

In my attempt to share my personal view of VR I thought about how to visualize the world behind the digital, behind the virtual. For me it was neither white or black finitude nor the blue screen of a projector or a green screen. I choose the png file pattern which represents transparency but in reality it is a two dimensional image file which is trying to simulate what it is not. So it is basically a placeholder for what we can't display on screen or in VR: transparency. Using this in VR to build an immersive experience and brining it back on screen symbolizes the tricks that virtual reality and digital screens play with us.

(Reference: VR-Rollercoaster and Code.)

2020 – Portfolio Website for Merlin Reichart – https://www.merlin-reichart.com
Dimensions: Responsive

2020 – „Portable Transmission Device“ –
Steel, LCD-Screens,
Infusions, Videos

2019 – „Intruder“ – This piece was part of the Digifem 2019 that took place at Kampnagel Hamburg. It resembles the intrusion that high-tech tools perform on humans. On a physical and on a mental level.

Steel Tubes, Tablets, Industrial wheels,
Stainless-steel boat railing arms
3,5x2,5x2,5m

2019 – ’Host 0-5‘ – Videos from social feeds, dating apps and make-up tutorials are played on the mobile devices which are stuck through the acrylic bodies. Since the bodies are transparent they act like a projection surfaces for the reproduced content from social media. As an empty shell for medial content, these bodies have lost their individuality and self-determination. They hang from the ceiling on butcher hooks, becoming a passive product, they represent the standardized concept of women's bodies of our time. This installation was part of the Digifem 2019 at Kampnagel Hamburg.

Acrylic resin, Mobile devices, Butcher
hooks, Cables, Steel Chain
80x40cm

2019 – „Infusionstand“ – The digital space is instantaneously and globally interconnected. It satisfy's with the illusion of knowing/communicating and consuming everything the fastest way possible. While disconnecting from our physical bodies, it's environment and it's origins behind all the mobile devices this digital womb is aiming to reconnect and infuse itself into the minds of it’s kin, giving birth to infinite gender ideas, manifesting that gender is only a construct in our minds that we get infused with every day.

Steel, LCD-Screens,
Infusions, Videos

2019 – Concrete Pillar Man* Cliterium (CXX Race) – Poster design for the byicycle gang "Nonstop Schwitzen".
594mm x 841mm

2019 – Fahrradflohmarkt – Posterdesign for a Bicycle Fleamarket at #Brake a bicycle community café and open workshop space.
594mm x 841mm

2018 – Ersatzteilewelt – www.etwelt.de
A moving poster series about replacement.
In our daily life everything becomes replaceable. We lose something? We brake something? We need an upgrade? Everything can be replaced, every desire satisfied! Both material and personal loss can be obliterated. In a world of excess and overstimulation it becomes a regularity. But is everything replaceable? And is everything we replace really replaced? If we take a closer look there is more to it and we can differentiate between our experience and the replacement. Yet the concept of replacement sneaks through our lifes and we are always on the lookout for the next best replacement, a better version of what we already have.
After Effects, 1118 x 889px

2018 – Fuck you – Digitalized zine, Visual interpretation & deconstruction of the song 'Fuck You' by Lily Allen.
After Effects, InDesign,
Print: 115mm x 155mm

2018 – Riot Not Diet – Furora Film Festival x Posterwomxn submission for the movie 'RIOT NOT DIET' by Julia Fuhr Mann.
Photos, Adobe Illustrator & InDesign,
594mm x 841mm

2018/19 – Global Feminist Bad(b)ass – Three Instagram Stories for an event series at Kampnagel organized by the label 'One Mother'.
After Effects, Cinema4D,
1080 x 1920px

2018 – Hidden Type – Critical poster featuring the poem 'Avenidas' by Eugen Gomringer which was intensly discussed early 2018.
Scan, Foils, 594mm x 841mm