Serey Roth

Digital Residency Spring 2026

Echoes of the Silk Road (No. 4)

Echoes of the Silk Road (No. 4) is a high-relief spatial work exploring the friction between physical migration and digital commerce. The composition layers hyper-realistic textures of weathered street posters from Phnom Penh and Toronto’s industrial West End, intersected by a pulsing, 3D-mapped neon filament—the "fiber-optic silk road" of modern cultural exchange. By rendering this work as a 1:1 spatial object rather than a flat image, Roth challenges the viewer to move beyond the ephemeral digital feed and acknowledge the tactile weight of history within their own physical environment.

Roth utilizes a proprietary "Digital Scavenging" process.

She begins with high-resolution photogrammetry of physical textures found in Toronto’s industrial corridors and Phnom Penh’s street markets. These textures are then digitally sculpted into high-relief "digital tapestries." By manipulating depth maps and spatial anchors, she ensures her works possess a tactile presence that demands they be lived with as physical objects, rather than viewed as flat content.

Roth’s work is a dialogue between three distinct worlds: the satirical subversion of Banksy, the warped, fluid logic of Salvador Dalí, and the architectural layering of Mark Bradford.

From Banksy, she adopts the street as a site of political inquiry; from Dalí, she pulls the surreal warping of physical space; and from Bradford, she draws the technique of "mapping" history through the accumulation of material and digital "debris."

Born in Phnom Penh and currently practicing in Toronto, Serey Roth explores the friction between ancestral memory and the hyper-digital urban landscape.

A graduate of OCAD University’s Digital Futures program, Roth’s work acts as a bridge between the physical decay of urban textures and the precise geometry of 3D modeling. Her practice is a search for "The Human Record" within the layered surfaces of city life—treating every wall as a living archive of intention and neglect.

Roth utilizes a proprietary "Digital Scavenging" process.

She begins with high-resolution photogrammetry of physical textures found in Toronto’s industrial corridors and Phnom Penh’s street markets. These textures are then digitally sculpted into high-relief "digital tapestries." By manipulating depth maps and spatial anchors, she ensures her works possess a tactile presence that demands they be lived with as physical objects, rather than viewed as flat content.