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      <image:title>Students - Boxlight</image:title>
      <image:caption>Lighting Project - Siena Rozzelle - 2021 University of Louisiana at Lafayette 401 - Industrial Design Studio V</image:caption>
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      <image:title>Students - UL Safety Program</image:title>
      <image:caption>Issues of Access Group Project - Audrey Teixeira &amp; Jenya Mann - 2021 University of Louisiana at Lafayette 365 - Human-Centered Design</image:caption>
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    <image:image>
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      <image:title>Students</image:title>
      <image:caption>Pre-Discussion Prompt - Full Class - 2020 University of Louisiana at Lafayette 365 - Human-Centered Design</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/55d23258e4b0aea2f0104b27/1648700549440-VCVTFIJ1ZMA7JOKSB77I/Screen+Shot+2021-01-18+at+3.20.01+PM.png</image:loc>
      <image:title>Students - Thoughts On... 'Natural'</image:title>
      <image:caption>Pre-Discussion Prompt - Full Class - 2020 University of Louisiana at Lafayette 365 - Human-Centered Design</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/55d23258e4b0aea2f0104b27/1648700699177-7E44AK97SP5YUM8VFVJS/Bourgeois_let_there_be_light_poster+%281%29-1.jpg</image:loc>
      <image:title>Students - Drip Drop Droop</image:title>
      <image:caption>Lighting Suite - Andre Bourgeois - 2020 University of Louisiana at Lafayette 401 - Industrial Design Studio V</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/55d23258e4b0aea2f0104b27/1648700901780-ADWVYDFYICUGYZMKBYL8/Screen+Shot+2020-08-23+at+10.14.50+PM+copy.jpg</image:loc>
      <image:title>Students - Everyday Encounters</image:title>
      <image:caption>Psychogeographic Representations - Siena Rozzelle - 2020 University of Louisiana at Lafayette 365 - Human-Centered Design</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/55d23258e4b0aea2f0104b27/1648698662005-C3M267ODK3XIPNI40A12/Reding_light_processbook-1.jpg</image:loc>
      <image:title>Students - Taisho</image:title>
      <image:caption>Lighting Project - Paul Reding - 2021 University of Louisiana at Lafayette 401 - Industrial Design Studio V</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/55d23258e4b0aea2f0104b27/1653575344965-L82GGJYH3PYC2HA9UHQ8/Cabirac_Process+Book-8.jpg</image:loc>
      <image:title>Students</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/55d23258e4b0aea2f0104b27/1648700382754-XLTOBHLXKURUQWE4MS9H/Screen+Shot+2021-01-18+at+3.26.59+PM.png</image:loc>
      <image:title>Students - Thoughts On... 'Access'</image:title>
      <image:caption>Pre-Discussion Prompt - Full Class - 2020 University of Louisiana at Lafayette 365 - Human-Centered Design</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/55d23258e4b0aea2f0104b27/1648699082391-VS1LXUYDWFJN6LJIMQ5C/lily_light_process_book-1.jpg</image:loc>
      <image:title>Students - Lily</image:title>
      <image:caption>Lighting Project - Jeanne-Marie Guidry - 2021 University of Louisiana at Lafayette 401 - Industrial Design Studio V</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/55d23258e4b0aea2f0104b27/1653576143175-1XAPJ08RE9622DHBVRRR/Reding_TEIB_Processbook-33.jpg</image:loc>
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      <image:caption>Abstract Proposal and Presentation - Aidan Oddløkken &amp; Avery Miller - 2021-2022 University of Louisiana at Lafayette Independent Mentorship Undergraduate Symposium in Material Culture Studies: Futures? Design History Forum at Drexel University Recipient of UL Lafayette SOAD Undergraduate Writing Award</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/55d23258e4b0aea2f0104b27/1653577547451-Y5GR08OL279P174UOWWR/Exhaust+.jpg</image:loc>
      <image:title>Students</image:title>
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    <image:image>
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      <image:title>Students</image:title>
      <image:caption>Small Batch Production Project - Tina Truong, Clay Tucker, Mason Meaux, Kelsey Brouphy, Hadley Swier, Morgan Clements, Emily Hidalgo, Megan Ivey, James Sansone, Trent Scallan, Lela Lobello, Connor Mayer - 2022 University of Louisiana at Lafayette 401/201 - Industrial Design Studio V / Industrial Design Studio II</image:caption>
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  </url>
  <url>
    <loc>https://www.timkaroleff.com/objects</loc>
    <changefreq>daily</changefreq>
    <priority>1.0</priority>
    <lastmod>2023-08-22</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/55d23258e4b0aea2f0104b27/1634266424314-R6DJBMDVJT4V0AN6ZQW1/Karoleff_Tim_ItTakesAVillage-CarnivalQueen.jpg</image:loc>
      <image:title>Objects - It Takes A Village: Carnival Queen</image:title>
      <image:caption>My It Takes A Village series of works is an empathic celebration of place born from my time in Louisiana. The eerie mysticism of this land is represented as a show of respect to the women weaving that magic. These spiritual vessels are in conversation with the history of containers that respond to the environmental realities of cultural geographies. The multitude of hands alludes to the ability of community-building (here the reference being nail culture, and the salon, as an interstitial space of learning) as a way to subvert the oppressive forces of capitalism. My making process combines digital found objects with physical found objects to craft visceral, virtual-physical objects. These artifacts question the delineation between natural and artificial by returning digital representations of human limbs to the physical. This actualization of agency is essential to our really-lived humanity, and disrupts the tyranny of the metaverse. It Takes A Village: Carnival Queen, 2021, Polylactic Acid, Gel Acrylic, Enamel</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/55d23258e4b0aea2f0104b27/1623085702960-9PDQJ1AH36HN7GE1MW0K/01.TimKaroleff.ItTakesAVillage-SwampGoddess.jpg</image:loc>
      <image:title>Objects - It Takes A Village: Swamp Goddess</image:title>
      <image:caption>My It Takes A Village series of works is an empathic celebration of place born from my time in Louisiana. The eerie mysticism of this land is represented as a show of respect to the women weaving that magic. These spiritual vessels are in conversation with the history of containers that respond to the environmental realities of cultural geographies. The multitude of hands alludes to the ability of community-building (here the reference being nail culture, and the salon, as an interstitial space of learning) as a way to subvert the oppressive forces of capitalism. My making process combines digital found objects with physical found objects to craft visceral, virtual-physical objects. These artifacts question the delineation between natural and artificial by returning digital representations of human limbs to the physical. This actualization of agency is essential to our really-lived humanity, and disrupts the tyranny of the metaverse. It Takes A Village: Swamp Goddess, 2021, Polylactic Acid, Gel Acrylic</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/55d23258e4b0aea2f0104b27/1623085850496-B0AN3EJDVVF602HZ4TXV/02.TimKaroleff.ItTakesAVillage-VoodooQueen.jpg</image:loc>
      <image:title>Objects - It Takes A Village: Voodoo Queen</image:title>
      <image:caption>My It Takes A Village series of works is an empathic celebration of place born from my time in Louisiana. The eerie mysticism of this land is represented as a show of respect to the women weaving that magic. These spiritual vessels are in conversation with the history of containers that respond to the environmental realities of cultural geographies. The multitude of hands alludes to the ability of community-building (here the reference being nail culture, and the salon, as an interstitial space of learning) as a way to subvert the oppressive forces of capitalism. My making process combines digital found objects with physical found objects to craft visceral, virtual-physical objects. These artifacts question the delineation between natural and artificial by returning digital representations of human limbs to the physical. This actualization of agency is essential to our really-lived humanity, and disrupts the tyranny of the metaverse. It Takes A Village: Voodoo Queen, 2021, Polylactic Acid, Gel Acrylic, Enamel</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/55d23258e4b0aea2f0104b27/1634266545232-U1OT535SWJI7SVG2081L/Karoleff_Tim_ItTakesAVillage-WaterSpirit.jpg</image:loc>
      <image:title>Objects - It Takes A Village: Water Spirit</image:title>
      <image:caption>My It Takes A Village series of works is an empathic celebration of place born from my time in Louisiana. The eerie mysticism of this land is represented as a show of respect to the women weaving that magic. These spiritual vessels are in conversation with the history of containers that respond to the environmental realities of cultural geographies. The multitude of hands warping into an expression of growth and beginning, alludes to the ability of community-building as a way to subvert the oppressive forces of capitalism. My making process combines digital found objects with physical found objects to craft visceral, virtual-physical objects. These artifacts question the delineation between natural and artificial by returning digital representations of human limbs to the physical. This actualization of agency is essential to our really-lived humanity, and disrupts the tyranny of the metaverse. It Takes A Village: Water Spirit, 2021, Polylactic Acid, Nylon, Enamel</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/55d23258e4b0aea2f0104b27/1627411389826-8CYZDUV8B2F72OOHEI3R/01_TimKaroleff_Trope-Raccoon.jpg</image:loc>
      <image:title>Objects - Trope: Raccoon</image:title>
      <image:caption>My Tropes series of works performs the desire of Whiteness to reduce animals to representative trophies. This addiction to classification results in the flattening of the animal subject, turning it into an object for enjoyment by colonial powers. The taxidermy form evokes the ghost of the creature who, through a pin-the-tail on the donkey maneuver, is left to exist as but a fraction of itself as manifested through its trophied tail. The ghastly remnants of the animal are displayed atop a white, Corinthian column; this of course being the false Neo-Classical, flattened (devoid of color and reduced to Whiteness) interpretation of Antiquity. This putting-on-the-pedestal is emblematic of the hypocrisy expressed by the relationship of Whiteness and its need to destroy to “respect.” Trope: Raccoon, 2021, Taxidermy Form, Raccoon Tail, Pin, Corinthian Column</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/55d23258e4b0aea2f0104b27/1627411245337-3IVR63CAKENWT1MWP0C6/Karoleff_T_Trope-Mink_FoundObject.jpg</image:loc>
      <image:title>Objects - Trope: Mink</image:title>
      <image:caption>My Tropes series of works performs the desire of Whiteness to reduce animals to representative trophies. This addiction to classification results in the flattening of the animal subject, turning it into an object for enjoyment by colonial powers. The taxidermy form evokes the ghost of the creature who, through a pin-the-tail on the donkey maneuver, is left to exist as but a fraction of itself as manifested through its trophied tail. The ghastly remnants of the animal are displayed atop a white, Corinthian column; this of course being the false Neo-Classical, flattened (devoid of color and reduced to Whiteness) interpretation of Antiquity. This putting-on-the-pedestal is emblematic of the hypocrisy expressed by the relationship of Whiteness and its need to destroy to “respect.” Trope: Mink, 2021, Taxidermy Form, Mink Tail, Pin, Corinthian Column</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/55d23258e4b0aea2f0104b27/1648686778999-UCEEK4YT752OV6JK9K74/EDIT_20150622_kevinmichaelbriggs_Ampersand_026.jpg</image:loc>
      <image:title>Objects - Tube Stop Planters</image:title>
      <image:caption>I cut American-sourced aluminum tubing to size. Next the parts are baked with a fresh coat of powder by a Kentuckian to add some glamor. Then, I plug them with cork and fill them with plants. Aluminum, Powder Coat, Cork, 2016</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/55d23258e4b0aea2f0104b27/1648685362646-IK12M2378DSSFKL0M1V0/EDIT_20150624_kevinmichaelbriggs_Ampersand_084.jpg</image:loc>
      <image:title>Objects</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/55d23258e4b0aea2f0104b27/1648688152441-ZFIOR5O0X4GJA9Q0MHGG/EDIT_20150622_kevinmichaelbriggs_Ampersand_049.jpg</image:loc>
      <image:title>Objects - Fur Balls</image:title>
      <image:caption>What’s better than a baseball to have and to hold? A furry baseball. If I ever get the opportunity to throw out a first pitch, you can be certain I’ll be tossing one of these. Pill (Baseball Core), Sheepskin, Thread, 2015</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/55d23258e4b0aea2f0104b27/1648687303393-IJQAOZ87IW38Y1FKAPA9/ampersand_heavyshapes_trio_GIF.gif</image:loc>
      <image:title>Objects - Heavy Shapes</image:title>
      <image:caption>I source five pound extrusions of USA-made brass in three profiles. Then I force-patinate them with a bit of salt and ammonia for a while, before breaking the top edges with a bit of sandpaper to reveal a nice shiny highlight. I then finish them off by lovingly selecting a scrap of hair-on cowhide, which I then apply to the bottom with some cobbler adhesive so it really sticks. Patinated Brass, Cowhide, 2015</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/55d23258e4b0aea2f0104b27/1439840182474-QNPQ1LLZWB8NBKXM92X2/11.delta_stool_foursome_puppy_sit.jpg</image:loc>
      <image:title>Objects - Delta Stool</image:title>
      <image:caption>I source and hand mill domestic hardwoods into a soft circle, rubbed with a natural oil-wax blend that highlights the beauty inherent in the wood grain. Then I bend some hairpin legs from American-made brass or stainless steel, before inserting them into a custom drilled pattern that results in an interlocking, self-supporting structure great for sitting or setting. American Hardwood (Black Walnut, Hard Maple), Brass or Stainless Steel, Leather, 2013</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/55d23258e4b0aea2f0104b27/1439866510215-3RTI2ZOYCQOOQKFQQKSU/10.ampersand_wallpocket_eames.jpg</image:loc>
      <image:title>Objects - Wallpockets</image:title>
      <image:caption>I had these fun little barnacles die-cut in southeastern Indiana out of some house-made recycled, flood-coated corrugated, that’s then die-cut by the same factory. Then I have them shipped to the Clovernook Center for the Blind in Cincinnati, to support their initiative to help provide wage-earning work for visually-impaired folk. These lovely friends fold up and tab into themselves to be hung on the wall–just like picture frames–in clusters of your own creation, providing a perfect little pocket for all manner of stashables. Corrugated Paperboard, Ink, 2012</image:caption>
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    <image:image>
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      <image:title>Objects</image:title>
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    <image:image>
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      <image:title>Objects - Commodity Bowls</image:title>
      <image:caption>In Southern Louisiana many young people sign up for military service at age 18, as it is either that or the oil fields as the only opportunities for most. These people are then melted into a singular entity: soldiers, which are viewed as a commodity. This commodity experiences accepted losses to acquire greater return – human lives in exchange for resource access – largely in the form of petroleum reserves. These soldiers are made to serve as a vessel (thus the bowl form) to acquire the petroleum necessary to craft a mockery of their own existence (green army men). Once the commodity has been exhausted, the mentally and physically deformed soldiers are sent back home, unable and unsupported in their ability to actually divorce themselves from the military. Many of these returning soldiers then go to work in the oil fields they had originally attempted to evade, to again be used as a commodity for petroleum production, completing the repeating cycle of petroleum acquisition and depletion. Commodity Bowls 001 - 003, 2022, Low Density Polyethylene</image:caption>
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    <image:image>
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      <image:title>Objects - Surveillance Gargoyle</image:title>
      <image:caption>This work combines the contemporary and historic, passive building protectors, both operating by myth that requires belief are morphed into a chimera, eerily embodying both worlds. The gargoyle was crafted to provide sanctuary to all souls who entered the premises of the building they were set to protect, warding off evil spirits from inhabiting their minds. The threat of evil here is the specter, and the person is the protected. The surveillance camera – and in this case a dummy camera – was crafted to provide protection to the property it was installed onto, warding off would-be criminals. However, this protection is at the expense of the person, and the building is protected. This warping of protected and protector is reflected in the realities of the Surveillance Capital reality we inhabit. Surveillance Gargoyle, 2022, Resin, Enamel, Medium Density Fiberboard, Dummy Camera, Stainless Steel Fasteners, AA Batteries</image:caption>
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    <image:image>
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      <image:title>Objects - Space Hangers</image:title>
      <image:caption>These hangers keep all of your clothes spaced perfectly apart and provide a big, comfortable place to grab. Ideal for retail environments to aid in display, and saving clerks from having to manually space the merchandise after customer perusal. Powder Coat, Aluminum, Cork, 2015</image:caption>
    </image:image>
    <image:image>
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      <image:title>Objects - Swell Trays &amp; Bowls</image:title>
      <image:caption>I hand select solid hardwood boards of local, domestic species–usually walnut and maple because they’re two of my favorite types of trees. Then I process these boards into one of the three rectangular, stacking sizes before mindfully carving out a great many gouges to craft a swell waveform. Lastly I mill the bottom edges to give them a nice lift and shadow base before rubbing in a nice, natural, food-safe oil-wax finish. A perfect platform for your dailies. American Hardwood (Black Walnut, Hard Maple), 2013</image:caption>
    </image:image>
    <image:image>
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      <image:title>Objects - Punk Soap Dish</image:title>
      <image:caption>These lovely little fellas really help out around the washbasin by helping to lift up any soap bar or sponge placed upon them, allowing them to fully dry for the next person to scrub up. Sand cast in aluminum by an automotive foundry in Cincinnati, and powder-coated across the Ohio river by a wily Kentuckian. Finally they’re topped–or rather bottomed–with a set of four USA-made rubber feet to help them hold strong in slippery situations. Aluminum, Powder Coat, Rubber, 2014</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/55d23258e4b0aea2f0104b27/1648685756946-IXERWNPXEHQDFGS4HLG5/13.+bundle_side_scene.jpg</image:loc>
      <image:title>Objects - Bundle Side Table</image:title>
      <image:caption>I mill two DuPont Corian discs with several offset arrays of circles prepared to welcomingly accept an interlocked bundle–wink, wink–of locally sourced domestic hardwood dowels, milled just outside of Cincinnati, in my little hometown. With a good twist and a bit of whack–and a little bit of trade magic–it all comes together as a self-supporting structural surface that’s at home all around. DuPont Corian, Domestic Hardwood (Black Walnut, White Oak, Hard Maple), 2012</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/55d23258e4b0aea2f0104b27/1638802074417-PEYT0QUFJGCTE7FABYEP/EULA_Persp_RightShadow_BayTim_2.jpg</image:loc>
      <image:title>Objects - EULA Mobile Screen</image:title>
      <image:caption>Sam Link and Tim Karoleff designed and fabricated EULA Mobile Screen as a way to physically perform institutional transparency. Referencing the legal precedents of End User License Agreements and Terms of Service statements that are created to code privacy transgressions behind unassuming veils that bind users to contracts, regardless of their consent; EULA Mobile Screen obfuscates important data while masquerading as an ubiquitous object that is activated by user presence, likewise, regardless of consent. Sam and Tim practice design as a political act and crafted EULA Mobile Screen as a rhetorical tool to amplify oppressed voices. Behaving as an autonomous object, EULA Mobile Screen reflects and rearranges its environment, challenging perceived norms to promote action toward equitable realities. EULA Mobile Screen, 2020, Acrylic, Casters, Foam, Plastic, Paint, and Steel</image:caption>
    </image:image>
    <image:image>
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      <image:title>Objects - Movement Artifact 001</image:title>
      <image:caption>This 3D-printed artifact was created by 3D-scanning a controlled, repetitive movement over various lengths of time (two minutes for this example), and then discovering a solid volume from the captured data that was a simulacrum of the captured movement. The movements selected are simple fluctuations that many experience – in this case it is the gentle movements of a flag in wind.</image:caption>
    </image:image>
    <image:image>
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      <image:title>Objects - Play Your Cards Right !</image:title>
      <image:caption>A meeting in a box. Win the day by having the last word! This deck of cards is a collection of typical phrases stated in professional meetings, allowing players to hold court in an engaging manner that gets the job done.</image:caption>
    </image:image>
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      <image:title>Lectures - Interstitial Interlopers: Doing The Work</image:title>
      <image:caption>Lecture with Jackie Joseph Paul McFarland at Carnegie Mellon University for the Spring 2022 Public Programs Lecture Series “World Making” hosted by the School of Architecture, 2022.</image:caption>
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      <image:caption>Paper Presentation at Cumulus Conference: Design for Vertical &amp; Horizontal Growth, 2020.</image:caption>
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      <image:caption>Paper Presentation at National Conference on the Beginning Design Student 36: After Form Conference Proceedings, 2021</image:caption>
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      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>About - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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