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Information Experience Design (MA)

Cyan D'Anjou

Cyan D’Anjou (b. 2000, NL/US) is an experiential sculpture and media artist whose work takes on a speculative quality as she envisions the potential impacts of current technological advancements and the information economy on our societal fabric–which she often expresses in the form of interactive installations, audiovisual experiences, and sculptural designs situated within a conceptual world-building narrative.

With a previous background in technology, design, and innovation ethics from Stanford University, she creates tactile experiences around AI’s growing presence in our everyday and the subsequent cultural, anthropologic, and psychological changes that follow the normalization of data capitalism in our environments. Cyan is particularly interested in investigating behavioral shifts as we face a point of reckoning the declining state of our climate while humans’ relationships with the physical world becomes more blurred.

Her works have been exhibited internationally including at the High Museum of Art (Atlanta, US), SOMArts (San Fransisco, US), Saatchi Gallery (London, UK), Centre Pompidou (Paris, FR), and Sonsbeek ‘16 (Arnhem, NL).


2023 Royal College of Art, MA Information Experience Design 

2022 Stanford University, BS Human Immersive Design Engineering


Oct 2023 ReA! Arte Fair 2023, Fabbrica del Vapore, Milan, IT

Health as Currency, Embassy of Health, DDW ’23, Eindhoven, NL

Aug 2023 Figures 2023, CICA Museum, Seoul, KR

Jul 2023 Beyond a Priori, Seasons Gallery, London, UK


2023 Brink, 2030 Collective, RCA Hanger Gallery, London, UK

Welcome to the Uncanny, Athens Digital Arts Festival, Athens, GR

IRCAM Forum, Centre Pompidou, Paris, FR

Murmurations, RCA Kensington Theater, London, UK

Climate 20XX, Orleans House Gallery, Richmond, UK

2022 Multifaceted, SOMArts, San Francisco, USA

2020 New Dimensionality, Center for Computer Research, Stanford, USA

Cyan in a business suit tending to an orange tree on her self-designed table in a dark room lit by a circular spotlight.

Sacrifice of Motherhood is a climate fiction scenario set in the year 2045 that imagines a society where one’s social status is attributed to their dedication to the flourishing of nature. Its aim is to address the question of “what if we were to give more to nature than we take from it?”

Inspired by the act of designing “an empty vessel waiting to be filled” described in the ‘Perspecta 54’ excerpt The Possibilities of Atopia by Auger and Hanna, to address this central question, I’ve written a set of values for a future world that takes into consideration the social value structures which already exist in our everyday lives, but altered for the benefit of our environment.

The Sacrifice of Motherhood values outline a mindset whose objective is to de-prioritize a human ideal of “survival” to instead focus on the longevity of our full environment.

Ecology over Economy

The world of 2045 is heavily influenced by the principles which governed our society in 2022. Optics are everything, and acknowledging the collective focus on the climate crisis, governing bodies have used the prominence of social media platforms and influencers to redirect what status “looks like” culturally as a form of soft power. Much like how material objects such as luxury fashion, real estate, ambitious careers titles, and travel have previously been regarded as markers of high-success, in order to gain visibility and notoriety in the 2045 world, one should invest in and the expand their knowledge about maintaining a flourishing environment. Noting how we currently invest in education, property, careers, etc. in an incredibly all-consuming manner, this built society exists paralleling the pursuit of social capital–but in this world, nature is the most valuable asset we own.


We relinquish the need for humans to roam the world forever. Human reproduction is deemed an unviable endeavor considering (lack of) access to wealth, health, resources, and love.

OSC (Organic Social Capital)

Our society exists due to the pursuit of social capital and nature is the most valuable asset we own. The more it flourishes, the higher one’s OSC.

Soil to Soil (Dust to Dust)

We have accepted eventual extinction as a collective species as we no longer believe in death. We look forward to returning to the earth once our bodies have been expunged.

"It is expected of every individual to give themselves fully to the prosperity of nature. Even the CO2 we exhale with each breath, the nails which grow on our hands and toes, and the nutrients present in our sweat are key to the environment’s growth and survival. We should do what we can to provide, so we collect every aspect of ourselves to be given. After all, the nature we own is a symbol of our personal ability to sacrifice, the most distinguished and enviable human quality. We make this sacrifice out of the knowledge that it will eventually be reciprocated. Once we have given all that our bodies can give, we will return to soil ourselves and expect our natural bodies to grow given the same dedication we have given to those before us."
organic social capital livestream and currency exchange webpage
Interactive, 2-channel web-app to actively build your own Organic Social Capital for the Urban Temperate region environment

OSC: For a flourishing life.

Organic Social Capital is an experiential narrative within this world questioning the valuation of the production-centric “blood, sweat, and tears” hustle. Similar to GDP, OSC quantifies and compares human output, but now the paradigm shifts to value ecology over economy.

Growing one’s OSC–which audiences are guided to do through an interactive web-app –mirrors the “blood, sweat, and tears” mindset by quantifying the input of human byproducts and attention as a tangible currency. By redefining the highest-valued acts as nurture-based stewardship, OSC uses existing structures of capitalism to compensate the previously invisible labors of care, yielding both benefits for the sustainability of our communities and for our surrounding nature.

organic social capital webpage displaying the manifesto core values

Living in the Urban Temperates

The whole time you’re hoping that one day, your region too can flourish. It’s a shame that growth in humans and the synthetic industry still outnumbers the growth in the natural environment of your area. The birth rate is still higher than the environmental decline. Unfortunately, you’ve been born into a Capital city–you exist to produce organic capital in support of flourishing. The infrastructure to contribute directly to nature hasn’t yet been developed in your area, as nature is still so far away. You live in what has been known as a concrete jungle.

You know from what you’ve heard that the monotonous heights of the skyscrapers have nothing on the vastness of a redwood forest. You know those wise trees in fact are the sky, collaboratively canopying, covering further than eyes can see, are touching more than we ever will. The trees create the air we breathe, so of course, they are the sky. Therefore, we can only hope to scrape, while the redwoods become.

You’ve never seen a redwood. But you know nothing man-made could ever come close.

three 3D printed plant figures
3D printed sage plant on a concrete background
detail of 3D printed strawberry plant
three stages of going from living plant to 3d scan to 3d print render
Process converting live plant to digital render and physical 3D print of the strawberry plant


Experiential installation of acrylic altar table, 3D printed plants, soil, and interactive web-app


Dimensions variable
Three lychee resin cubes on an orange table

Jinhua Group: The gift of our sacrifice

In this future society, the dedication towards nature manifests even into an incredibly bodily donation towards nature, taking into account that our blood, hair, and breath can all be collected and used to feed the growth of our plants, much like the act of giving performed by mothers–a sacrifice made to the success growth of another being. In lieu of raising a family, the incredibly bodily act of childrearing is instead invested into sustaining an individual’s plants and gardens. The more one is willing to give, the more favorably they are viewed in this society.

Fruits represent a gift from nature as a result of its sustained health, and they have come to be highly valued as symbols of respect within the future scenario. Jinhua Group* is a fictional company that specializes in the exchange of tropical fruits to regions where these are especially rare and thus garner a lot of social capital. These fruits, like the lychee, are preserved in a cube of human nutrients that were used to cultivate it and are rarely eaten.

*In my family, there is a name that is passed down through the daughters of each generation– Kiem hwa (or Jīn Hūa, 金花), a Chinese-Indonesian name meaning “golden flower.”

speculative label for jinhua's lychee cans
Speculative design of the lychee fruit can labels hinting at its slightly out-of-norm contents
three speculative lychee cans on an orange acrylic table
Lychee artifact pre-ordering page as shown on the LG OLED.T transparent display in "Climate 20XX" at the Orleans House Gallery
Sacrifice of Motherhood: Jinhua Group as presented at the Orleans House Gallery in January 2023 for "Climate 20XX"


Speculative products using lychee fruit, resin, tin cans, acrylic, and a transparent screen


Dimensions Variable
orange acrylic altar table in an abstracted form of a traditional qing dynasty design

The Alter

The Alter is a speculative design object situated within the “Sacrifice of Motherhood” climate fiction. Inspired by an antique altar table from the Qing Dynasty, The Alter is a representation of many beloved heritage objects that are left behind during the continued displacement of families from their motherlands due to colonial occupation and war. The table is made of laser-cut acrylic sheets and fits into a portfolio-sized flat pack, remedying any future need for quick deconstruction and transportation– a function mirroring the lasting effects of migration that materializes as subtle expressions of generational trauma. The design is an abstraction of the original traditional design representing an alternate form of cultural heritage that remains with the passing of subsequent generations while details of of lineage have blurred–or been altered.

CAD drawings and dimensions of the table design
sheet metal prototype of altar table piece
Metal prototype of the Alter table as used for the "Who is more known than Mother?" performance


Partable acrylic sheets


180 x 150 x 70cm

I will only last one lifetime, but I can feed generations.

I heard about the Enlightenment–when humans thought we had the reason and knowledge to pursue happiness.

Our reason led us to believe that: to be seen is to be happy. So, now we live in this world.

As long as I pour myself into this being who will last longer than my body can, I will be seen– known –forever.

This is what it means to be loved, isn't it?

All I really need to sustain me is the knowledge that I was loved while I was here.

I am feeding generations.

And who is more known than mother?

8 video thumbnail stills of cyan tending to orchid plant with hair
Video stills tending to the orchid plant from the second iteration of the "Who is more known than Mother?" performance
three live plants on a metal altar table