INTERFACES are designed to link our corporeal experience with non-physical information, thus creating a very real, lived experience out of an imagined space. This body of work lives within that horizon, presenting itself as both analog and digital, intimate and anonymous. It references the real and yet is clearly a departure from it; it is a simulation, a fractured copy of itself, where massive abstractions depart from the recognizable. Taking reference from my own body and the bedroom, I donate my body to an interface where it becomes mine and not mine, giving representation to this hyperreality while addressing that the female body has historically lived in this liminality. At times, the body is obvious, whole, yet clearly not of the physical. At other times, it is obfuscated, transformed, or pulled apart with digital layers that merely suggest, but cannot confirm, the surroundings. I am concerned with how the body-self, both from within and outside of these spaces, becomes integrated into and inextricable from this voyeuristic digital melting pot. When we witness an image in our time, when or where that image took place in the photo’s time is not concise. The result of this witnessing is a displacement in reality; though the viewer is inclined to believe there is something real about what is seen in the image or video (at least at some point), the method by which this information is delivered makes the image very un-real. The image lives nowhere and everywhere simultaneously.
The definition of hyperreality is the inability to distinguish the difference between reality and a simulation of reality. Despite the fractured realism that relies on the flatness of surface and highly rendered imagery, each work has moments that break the flatness, abruptly leading the viewer back to their local experience. Recognizing the interface and calling attention to its frame through paint, material, and construction is how I break the seduction of the image. By severing that moment of intimacy, the viewer recognizes that looking is not an unbiased act. Agency goes both ways. Every time they engage with an interface, they are touching, and touched back.